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Painting by Agnolo Bronzino: Portrait of a Young Man with a Book The Portrait of a Young Man with a Book is a c.1530s oil on board painting by Agnolo Bronzino. It likely depicts a literary friend of the artist holding open a collection of poetry. It entered the Metropolitan Museum of Art in New York in 1929, where it is still held.

Painting by Parmigianino: Madonna with the Long Neck an Italian Mannerist oil painting depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany purchased it in 1698 and it has been on display at the Uffizi since 1948. The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a rather large baby Jesus on her lap. Six angels crowd together on the Madonna's right, adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary. The painting is popularly called "Madonna of the Long Neck" because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan."

1540

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1541

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Painting by Agnolo Bronzino: Portrait of Bia de' Medici The Portrait of Bia de' Medici is an oil-tempera on wood painting by Agnolo Bronzino, dating to around 1542 and now in the Uffizi in Florence. Some art historians once identified the child as a young Cosimo I de' Medici, but it is now generally accepted to be Giulia.

Painting by Hans Holbein the Younger: Self Portrait The Self-portrait is a small drawing by the German Renaissance artist and printmaker Hans Holbein the Younger, completed around 1542-1543, and housed in the Uffizi, Florence. The gold background was added later by a different artist. According to art historian John Rowlands, "Although this drawing has been enlarged on all sides and heavily reworked, enough of it still shows to allow the assumption that the original work was executed by Holbein.

1542

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Painting by Titian: Portrait of the Vendramin Family a painting executed around 15431547. It presently hangs in the National Gallery in London. The canvas was commissioned by the noble Vendramin family, and portrays, as dictated by Venetian custom, only male members of the dynasty. It includes the brothers Andrea and Gabriele Vendramin, and Andrea's seven sons. Titian's painting has been described as, "one of the greatest group portraits in history". It balances youth and wisdom as well as demonstrating the power of this family and their public commitments to the Republic.

1543

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1544

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Painting by Agnolo Bronzino: Portrait of Eleanor of Toledo One of his most famous works, it is housed in the Uffizi Gallery of Florence, Italy and is considered one of the preeminent examples of Mannerist portraiture. The painting depicts Eleanor of Toledo, the wife of Cosimo I de' Medici, Grand Duke of Tuscany, sitting with her hand resting on the shoulder of one of her sons. This gesture, as well as the pomegranate motif on her dress, referred to her role as mother. Eleanor wears a heavily brocaded dress with black arabesques. In this pose, she is depicted as the ideal woman of the Renaissance.

Painting by Agnolo Bronzino: Venus, Cupid, Folly and Time (also called An Allegory of Venus and Cupid and A Triumph of Venus) is an allegorical painting by the Florentine artist Agnolo Bronzino. About 1546, Bronzino was commissioned to create a painting that has come to be known as Venus, Cupid, Folly, and Time. It displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

Painting by Titian: Pope Paul III and His Grandsons was commissioned by the Farnese family and painted during Titian's visit to Rome between autumn 1545 and June 1546. It depicts the thorny relationship between Pope Paul III, born Alessandro Farnese, and two of his grandsons, Ottavio and Alessandro. Ottavio is shown in the act of kneeling, to his left; Alessandro, wearing a cardinal's dress, stands behind him to his right. The painting explores the effects of ageing and the manoeuvring behind succession; Paul was at the time in his late seventies and operating within an uncertain political climate as Charles V, Holy Roman Emperor, came into ascendancy. Paul was not a religious man; he viewed the papacy as a means to consolidate his family's position. He appointed Alessandro as cardinal against accusations of nepotism, fathered a number of illegitimate children, and spent large sums of church money collecting art and antiquities.

Painting by Lucas Cranach the Elder : The Fountain of Youth The image is an oil painting on a lime wood board, executed in landscape format with the dimensions 186.1 x 120.6 centimeters. It shows on the bottom center, a winged serpent in flight from Cranach's workshop and the year 1546. It shows a fountain where older women but not men bathe, are rejuvenated and finally indulge in music, dance and good food. Cranach presents in this fairy tale image, in many details the real bathing culture of the Middle Ages, that based on the belief that certain baths might heal and rejuvenate. Sensual pleasures belonged to the bathroom now.

1546

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1547

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Painting by Caterina van Hemessen: Self Portrait a small painting executed in oil on oak in 1548 by the Flemish Renaissance artist Caterina van Hemessen when she was 20 years old. The painting earned her a considerable reputation during her lifetime and is significant not only for being an early modern female portrait but also for representing an artist in the act of painting. This was very unusual for the time; although self-portraits were common, only a few, like those of Albrecht Dürer (14711528), showed the artist's social position and everyday life. Artists of the time rarely directly referred to, much less showed the tools of their profession. Hemessen's portrait is one of the earliest in the Northern European tradition to show a painter not only with a brush but also a palette and easel. She inscribed it with the words: "I Caterina van Hemessen have painted myself / 1548 / Her aged 20".

1548

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1549

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Painting by unknown artist from the school of Fontainbleau: Diana the Huntress This may be an allegorical portrait of Diane de Poitiers, mistress of the French King Henry II. It reveals the profound impact of Italian Mannerist painters on French court art.

1550

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Painting by Pieter Aertsen: A Meat Stall with the Holy Family Giving Alms A large painting, it depicts a peasant market scene, with an abundance of meats and other foods. In the background, it shows a scene from the biblical theme of the flight into Egypt, where the Virgin Mary is seen stopped on the road, giving alms to the poor. Thus, although the painting seems to be at first sight an ordinary still life concentrating on foodstuffs, it is rich with symbolism; it in fact hides a symbolic religious meaning, and embodies a visual metaphor encouraging spiritual life. Aertsen made a name for himself during the 1550s painting scenes from everyday life in a naturalistic manner.

Painting by Titian: Venus with a Mirror The pose of the Venus resembles the classical statues of the Venus de' Medici in Florence or the Capitoline Venus in Rome, which Titian may have seen when he wrote that was "learning from the marvelous ancient stones." The painting is said to celebrate the ideal beauty of the female form, or to be a critique of vanity, or perhaps both. It was copied by several later artists, including Peter Paul Rubens and Anthony van Dyck. Titian made a number of paintings of the same subject, but this is the believed to be the earliest and the only version to be entirely by the hand of Titian, without additions by his assistants. it remained in his house until his death in 1576. X-rays of the painting have revealed that Titian painted it over a double portrait which he had abandoned.

1555

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1556

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1557

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1558

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Painting by Pieter Bruegel the Elder: Netherlandish Proverbs a 1559 oil-on-oak-panel painting that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch language proverbs and idioms. Running themes in Bruegel's paintings are the absurdity, wickedness and foolishness of humans, and this is no exception. The painting's original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalog human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.

1559

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Painting by Pieter Bruegel the Elder: Children's Games The children, who range in age from toddlers to adolescents, roll hoops, walk on stilts, spin hoops, ride hobby-horses, stage mock tournaments, play leap-frog and blind man's bluff, perform handstands, inflate pigs' bladders and play with dolls and other toys. They have also taken over the large building that dominates the square: it may be a town hall or some other important civic building, in this way emphasizing the moral that the adults who direct civic affairs are as children in the sight of God. This crowded scene is to some extent relieved by the landscape in the top left-hand corner; but even here children are bathing in the river and playing on its banks. The artist's intention for this work is more serious than simply to compile an illustrated encyclopaedia of children's games, though some eighty particular games have been identified. Bruegel shows the children absorbed in their games with the seriousness displayed by adults in their apparently more important pursuits. His moral is that in the mind of God children's games possess as much significance as the activities of their parents.

1560

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1561

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Painting by Pieter Bruegel the Elder: The Fall of the Rebel Angels The depiction of this subject is taken from a passage from the Book of Revelation (12, 2-9) and reveals the artist's profound debt to Hieronymous Bosch, especially in the grotesque figures of the fallen angels, shown as half-human, half-animal monsters. Together with Dulle Griet and The Triumph of Death, which have similar dimensions, it was probably painted for the same collector and destined to become part of a series.

Painting by Pieter Bruegel the Elder: The Triumph of Death The painting shows a panorama of an army of skeletons wreaking havoc across a blackened, desolate landscape. Fires burn in the distance, and the sea is littered with shipwrecks. A few leafless trees stud hills otherwise bare of vegetation; fish lie rotting on the shores of a corpse-choked pond.

1562

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1563

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1564

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Painting by Pieter Bruegel the Elder: The Hunters in the Snow (Dutch: Jagers in de Sneeuw), also known as The Return of the Hunters, is a 1565 oil-on-wood painting by Flemish artist Pieter Bruegel the Elder. The Northern Renaissance work is one of a series of works, five of which still survive, that depict different times of the year. The Hunters in the Snow, and the series to which it belongs, are in the medieval and early Renaissance tradition of the Labours of the Months: depictions of various rural activities and work understood by a spectator in Breugel's time as representing the different months or times of the year.

1565

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Painting by Giuseppe Arcimboldo: The Four Elements a series of paintings that were commissioned by Maximilian II, Holy Roman Emperor. The portraits display figures in profile formed by different animals or objects. Earth is represented by land animals, Air by birds, Water by marine creatures and Fire by burning wood and cannons. This series attempts to express harmony out of chaos with wild animals forming distinct faces. It also praises Maximilian, suggesting that he is a ruler who controls even the four primal elements.

Painting by Pieter Bruegel the Elder: The Wedding Dance The painting depicts 125 wedding guests. As was customary in the Renaissance period, the brides wore black and men wore codpieces. Voyeurism is depicted throughout the entire art work; dancing was disapproved of by the authorities and the church, and the painting can be seen as both a critique and comic depiction of a stereotypical oversexed, overindulgent, peasant class of the times.

Painting by François Clouet: A Lady in Her Bath The picture is in the National Gallery of Art, Washington DC. It is one of only three paintings signed by Clouet. The bather is unknown. It is possible that she is Diane de Poitiers, mistress of King Henry II of France. Scholar Roger Trinquet suggested in 1966 that the lady is Mary Queen of Scots. The lady's face resembles other portraits of Mary, especially a drawing by Clouet depicting Mary in mourning. Trinquet believes the painting was intended as a satire for a Huguenot patron. The painting set a fashion for portraits of bathers.

1571

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1572

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Painting by Paolo Veronese: The Feast in the House of Levi is one of the largest canvases of the 16th century, measuring 555 cm × 1,280 cm (18.21 ft × 41.99 ft). It is now in the Gallerie dell'Accademia in Venice. It was painted by Veronese for the rear wall of the refectory of the Basilica di Santi Giovanni e Paolo, a Dominican friary, as a Last Supper, to replace an earlier work by Titian destroyed in the fire of 1571. However, the painting led to an investigation by the Roman Catholic Inquisition. Veronese was called to answer for irreverence and indecorum, and the serious offence of heresy was mentioned. He was asked to explain why the painting contained "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period; instead, he simply changed the title to The Feast in the House of Levi, still an episode from the Gospels, but less doctrinally central, and one in which the Gospels specified "sinners" as present. After this, no more was said.

1573

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1574

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1575

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1576

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1577

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Painting by El Greco: Lady in a Fur Wrap against a dark background a young woman gazes at the viewer, dressed in a fur robe covering the rest of her dress. A fine transparent veil covers her head, and vaguely a neckace can be seen that she is wearing underneath it. The robe falls into darkness behind its fur lining, that may be ermine or lynx. The painting is unsigned but has traditionally been attributed to El Greco since it was in the collection of French king Louis Philippe I and hung at the Louvre.

1578

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1579

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1580

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1581

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1582

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1583

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1584

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1585

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1586

Galileo publishes La Billancetta, describing an accurate balance to weigh objects in air or water.

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1587

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1588

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1589

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1590

Glass lenses are developed in the Netherlands and used for the first time in microscopes and telescopes.

Painting by Giuseppe Arcimboldo: Vertumnus The painting is Arcimboldo's most famous work and is a portrait of the Holy Roman Emperor Rudolf II re-imagined as Vertumnus, the Roman god of metamorphoses in nature and life; the fruits and vegetables symbolize the abundance of the Golden Age that has returned under the Emperor's rule. Looking from the distance, Arcimboldo's whimsical portraits might look like portraits, but they are assembled using vegetables, books, plants, kitchen utensils, oils, fruits, sea creatures, animals and tree roots, each individual object chosen to give the impression of anatomical trait of a human face. The portrait of the emperor is created out of plants — flowers and fruits from all seasons: gourds, pears, apples, cherries, grapes, wheat, artichokes, peapods, corns, onions, artichoke, cabbage foils, cherries, chestnuts, figs, mulberries, grapes, plums, pomegranates, various pumpkins and olives. Rudolf's portrait is composed of fruit, vegetables and flowers were to symbolize the perfect balance and harmony with nature that his reign represented. These portraits were an expression of the Renaissance mind's fascination with riddles, puzzles, and the bizarre.

1591

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Painting by Caravaggio: Boy Peeling Fruit This is the earliest known work by Caravaggio, painted soon after his arrival in Rome from his native Milan in mid 1592. The fruit being peeled by the boy is something of a mystery. Sources indicate it may be a pear, which is probably correct but has been questioned; it may be a nectarine or plum, several of which lie on the table, but these are not usually peeled; some have suggested a bergamot, a pear-shaped citrus fruit grown in Italy, but others object that the bergamot is sour and practically inedible. Seen as a simple genre painting, it differs from most in that the boy is not 'rusticated,' that is, he is depicted as clean and well-dressed instead of as a 'cute' ragamuffin. An allegoric meaning behind the painting is plausible, given the complex Renaissance symbology of fruit. Caravaggio scholar John T. Spike has recently suggested that the boy demonstrates resistance to temptation by ignoring the sweeter fruits (fruits of sin) in favour of the bergamot, but no specific reading is widely accepted.

1592

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1593

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Painting by Caravaggio: Cardsharps The work represents an important milestone for Caravaggio. He painted it when he was attempting an independent career after leaving the workshop of the Cavaliere Giuseppe Cesari d'Arpino, for whom he had been painting "flowers and fruit", finishing the details for the Cavaliere's mass-produced (and massive) output. Caravaggio left Arpino's workshop in January 1594 and began selling works through the dealer Costantino, with the assistance of Prospero Orsi, an established painter of Mannerist grotesques (masks, monsters, etc.). Orsi introduced Caravaggio to his extensive network of contacts in the world of collectors and patrons. Composition The painting shows an expensively-dressed but unworldly boy playing cards with another boy. The second boy, a cardsharp, has extra cards tucked in his belt behind his back, out of sight of the mark but not the viewer, and a sinister older man is peering over the dupe's shoulder and signaling to his young accomplice. The second boy has a dagger handy at his side, and violence is not far away.

Painting by unknown artist: Gabrielle d'Estrées et une de soeurs The painting now hangs at the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School. The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister sits nude beside her and pinches her right nipple. The nipple-pinching gesture is often interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing — perhaps preparing a layette for the coming child — in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he supposedly gave to her as a token of his love shortly before she died.

1594

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1595

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Painting by El Greco: View of Toledo is one of the two surviving landscapes painted by El Greco. The other, View and Plan of Toledo lies at Museo Del Greco, Toledo, Spain. View of Toledo is among the best known depictions of the sky in Western art, along with Vincent van Gogh's The Starry Night and the landscapes of William Turner and Monet, among others. Most notable is the distinct color contrast between the dark and somber skies above and the glowing green hills below. While influenced by the Mannerist style, El Greco's expressive handling of color and form is without parallel in the history of art. In this painting, he takes liberties with the actual layout of Toledo insofar as certain building locations are re-arranged. However, the location of the Castle of San Servando, on the right, is accurately depicted. El Greco's signature appears in the lower-right corner.

1596

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Painting by Caravaggio: Medusa Caravaggio painted two versions of Medusa, the first in 1596 and the other presumably in 1597. The first version is also known as Murtula, by the name of the poet who wrote about it, Gaspare Murtola (d. 1624): "Flee, for if your eyes are petrified in amazement, she will turn you to stone." It measures 48 by 55 cm and is signed Michel A F (Latin: Michel Angelo Fecit), "Michel Angelo made [this]", Michelangelo being Caravaggio's first name. This work is privately owned. The second version, shown here, is slightly bigger (60×55 cm) and is not signed; it is held in the Uffizi Gallery in Florence.

Painting by Michelangelo Merisi da Caravaggio: Jupiter, Neptune and Pluto According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods. The painting was done for Caravaggio's patron Cardinal Francesco Maria Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi. The cardinal had a keen interest alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte but had yet to make his mark on cosmology.

1597

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1598

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Painting by Caravaggio: Basket of Fruit a still life painting which hangs in the Biblioteca Ambrosiana (Ambrosian Library), Milan. It shows a wicker basket perched on the edge of a ledge. The basket contains a selection of summer fruit. Much has been made of the worm-eaten, insect-predated, and generally less than perfect condition of the fruit. In line with the culture of the age, the general theme appears to revolve about the fading beauty, and the natural decaying of all things. Scholars also describe the basket of fruit as a metaphor of the Church. A recent X-ray study revealed that it was painted on an already used canvas painted with grotesques in the style of Caravaggios friend Prospero Orsi, who helped the artist in his first breakthrough into the circles of collectors such as his first patron, Cardinal Francesco Maria Del Monte, around 1594/1595, and who remained close to him for many years thereafter.

Painting by Caravaggio: David and Goliath The David and Goliath in the Prado was painted in the early part of the artist's career, while he was a member of the household of Cardinal Francesco Maria Del Monte. It shows the Biblical David as a young boy (in accordance with the Bible story) fastening the head of the champion of the Philistines, the giant Goliath, by the hair. The light catches on David's leg, arm and flank, on the massive shoulders from which Goliath's head has been severed, and on the head itself, but everything else is dark. Even David's face is almost invisible in the shadows. A wound on Goliath's forehead shows where he has been felled by the stone from David's sling. The overwhelming impression is of some action intensely personal and private — no triumph, no armies, no victory.

Painting by Caravaggio: Judith Beheading Holofernes The widow Judith first charms the Assyrian general Holofernes, then decapitates him in his tent. The painting was rediscovered in 1950 and is part of the collection of the Galleria Nazionale d'Arte Antica in Rome. The deutero-canonical Book of Judith tells how Judith served her people by seducing and pleasuring Holofernes, the Assyrian general. Judith gets Holofernes drunk, then seizes her sword and slays him: "Approaching to his bed, she took hold of the hair of his head." (Judith, 13:7-8). Caravaggio's approach was, typically, to choose the moment of greatest dramatic impact, the moment of the decapitation itself. The figures are set out in a shallow stage, theatrically lit from the side, isolated against the inky, black background. Judith and her maid Abra stand to the right, partially over Holofernes, who is vulnerable on his back. X-rays have revealed that Caravaggio adjusted the placement of Holofernes' head as he proceeded, separating it slightly from the torso and moving it slightly to the right. The faces of the three characters demonstrate his mastery of emotion, Judith in particular showing in her face a mix of determination and repulsion. Artemisia Gentileschi and others were deeply influenced by this work, and even surpassed Caravaggio's physical realism, but it has been argued that none matched his capture of Judith's psychological ambivalence.

Painting by Caravaggio: Crucifixion of Saint Peter was painted for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is an Assumption of the Virgin Mary by Annibale Carracci. The painting depicts the martyrdom of St. Peter by crucifixionPeter asked that his cross be inverted so as not to imitate his God, Jesus Christ, hence he is depicted upside down. The large canvas shows Ancient Romans, their faces shielded, struggling to erect the cross of the elderly but muscular apostle. Peter is heavier than his aged body would suggest, and his lifting requires the efforts of three men, as if the crime they perpetrate already weighs on them.

Painting by Caravaggio: The Conversion of St. Paul records the moment when Saul of Tarsus, on his way to Damascus to annihilate the Christian community there, is struck blind by a brilliant light and hears the voice of Christ saying, "Saul, Saul, why persecutest thou me?...And they that were with me saw indeed the light, and were afraid, but they heard not the voice..." (Acts 22:6-11). Elsewhere Paul claims to have seen Christ during the vision, and it is on this basis that he grounds his claim be recognised as an Apostle: "Have I not seen Jesus Christ our Lord?" (I Corinthians 9:1). Caravaggio biographer Helen Langdon describes style of Conversion as "an odd blend of Raphael and clumsy rustic realism," but notes how the composition, with its jagged shapes and irrational light which licks out details for their dramatic impact, creates "a sense of crisis and dislocation [in which] Christ disrupts the mundane world."

1601

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1602

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Painting by Caravaggio: Sacrifice of Isaac The Sacrifice of Isaac is the title of two paintings from c. 1598 - 1603 depicting the sacrifice of Isaac. The paintings could be painted by the Italian master Caravaggio (15711610) but there is also strong evidence that they may have been the work of Bartolomeo Cavarozzi, a talented early member of the Caravaggio following who is known to have been in Spain about 1617-1619. The second Sacrifice of Isaac is housed in the Uffizi Gallery, Florence. According to the early biographer Giovanni Bellori, Caravaggio painted a version of this subject for Cardinal Maffeo Barberini, the future Pope Urban VIII, and a series of payments totalling one hundred scudi were made to the artist by Barberini between May 1603 and January 1604. Caravaggio had previously painted a Portrait of Maffeo Barberini, which presumably pleased the cardinal enough for him to commission this second painting. Isaac has been identified as Cecco Boneri, who appeared as Caravaggio's model in several other pictures. Recent X-ray analysis showed that Caravaggio used Cecco also for the angel, and later modified the profile and the hair to hide the resemblance.

Painting by Peter Paul Rubens: The Duke of Lerma on Horseback. When he visited the Spanish Court for the first time, Rubens (still in his twenties) used this picture to display his talents and to make his mark. It has already many elements of his mature Baroque style, which would have been novel and striking to his viewers. The way in which the horse seems to surge forward towards the spectator - an effect engineered by the low viewpoint and lack of balancing elements in the foreground, and recalling the techniques of Caravaggio - was spectacular, and broke with the traditional profile of equestrian portraits. Other devices used to enhance the spectacle were the eccentric colouring, the tempestuous lighting, and the rather disquieting energy of the horse's hair and the trees' foliage.

1603

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Painting by Caravaggio: The Entombment of Christ, one of the artist's most admired altarpieces, was created for the second chapel on the right in Santa Maria in Vallicella (the Chiesa Nuova), a church built for the Oratory of Saint Philip Neri. A copy of the painting is now in the chapel, and the original is in the Vatican Pinacoteca. The painting has been copied by artists as diverse as Rubens, Fragonard, Géricault and Cézanne.

Painting by Frans Hals: Banquet of the Officers of the St. George Civic Guard Company of Haarlem is considered one of the main attractions of the Frans Hals Museum. Hals was in his thirties when he painted this piece, and was far from established as a portrait painter. To be safe, he based most of his design on the painting of his predecessor, Cornelis Cornelisz van Haarlem, who painted the same militia company in 1599. Given a nearly impossible task, namely to complete his assignment but to add theatrical elements at the same time, Hals must have spent lots of time judging the politics of the group. He knew these men well as he served in the St. Joris militia himself from 1612-1615. In his painting, he indicates the political position of each man in the group as well as managing to give each a characteristic portrait. In Cornelis van Haarlem's piece the figures seem crammed into a tight space, and each face seems to have a similar expression. In Hals' group, an illusion of space and relaxed conversation is given. Officers were selected by the council of Haarlem to serve for three years, and this group had just finished their tenure and celebrated their end of service with a portrait. The man with the orange sash heads the table and the second in command is on his right. The three ensigns stand and the servant is carrying a plate.

1616

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1617

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1618

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1619

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Painting by Artemesia Gentileschi: Judith Beheading Holofernes shows the scene of Judith beheading Holofernes, common in art since the early Renaissance. The subject represents an episode (from the apocryphal Book of Judith in the Old Testament) which recounts the assassination of the Assyrian general Holofernes by the Israelite heroine Judith. The painting shows the moment when Judith, helped by her maidservant, beheads the general after he has fallen asleep drunk. The painting is relentlessly physical, from the wide spurts of blood to the energy of the two women as they perform the act. Although the painting depicts a classic scene from the Bible, Gentileschi drew herself as Judith and her mentor Agostino Tassi, who was tried in court for her rape, as Holofernes. Gentileschi's biographer Mary Garrard famously proposed an autobiographical reading of the painting, stating that it functions as "a cathartic expression of the artist's private, and perhaps repressed, rage."

1620

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1621

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1622

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1623

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Painting by Frans Hals: The Laughing Cavalier has been described as "one of the most brilliant of all Baroque portraits". The title is an invention of the Victorian public and press, dating from its exhibition in the opening display at the Bethnal Green Museum in 187275, just after its arrival in England, after which it was regularly reproduced as a print, and became among of the best known old master paintings in Britain. The unknown subject is in fact not laughing, but can be said to have an enigmatic smile, much amplified by his upturned moustache.

1624

Galileo presents to Cesi, founder of the Lincean Academy, a "little eyeglass" (a microscope). The invention will enable the Linceans to study natural objects with unprecedented precision. They will start with bees, then move on to flies and dust mites.

Painting by Rembrandt: The Anatomy Lesson of Dr. Nicolaes Tulp shows Dr. Tulp explaining the musculature of the arm to medical professionals. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename (in its original form) as opposed to the monogramme RHL (Rembrandt Harmenszoon of Leiden), and is thus a sign of his growing artistic confidence.

1632

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1633

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1634

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Painting by Adriaen Brouwer: Tavern Scene. Brouwer left a small body of work amounting to about 60 works. Just a few of his works are signed, while none is dated. As Brouwer was widely copied, imitated and followed in his time, attributions of work to Brouwer are sometimes uncertain or contested. For instance, the The smoker (Louvre) showing a man exhaling smoke while holding a bottle of liquor was attributed for a long time to Brouwer, but is now given to Brouwer's follower and, possibly, pupil Joos van Craesbeeck. The principal subject matter of Brouwer are genre scenes with peasants, soldiers and other 'lower class' individuals engaging in drinking, smoking, card or dice playing, fights etc. often set in taverns or rural settings. Brouwer also contributed to the development of the genre of tronies, i.e. head or facial studies, which investigate varieties of expression.

Painting by Diego Velázquez: The Surrender of Breda was inspired by Velázquez's visit to Italy with Ambrogio Spinola, the Genoese general who conquered Breda on June 5, 1625. It is considered one of Velázquez's best works. Jan Morris has called it "one of the most Spanish of all pictures".

Painting by Frans Hals: Lucas de Clercq, a Dutch cloth merchant known today for his and his wife's pendant marriage portraits painted by Frans Hals.

Painting by Justus Sustermans: Portrait of Galileo Galilei. Justus Sustermans was a Flemish painter working in the Baroque style. He was born in Antwerp and died in Florence. Sustermans is chiefly notable for his portraits of members of the Medici family as he was their court painter. His work can be found in both the Palatina Gallery and the Uffizi Gallery in Florence, and in many other galleries around the globe. During his lifetime he was fêted as the finest portrait painter in Italy.

Painting by Peter Paul Rubens: A View of Het Steen in the Early Morning is a landscape painting now in the National Gallery in London. A rare example of a work painted for the artist's own pleasure rather than for a commission, it shows a view of the Het Steen estate near Brussels, which he had acquired in 1635, set in an early-morning autumn landscape. He had initially intended a much smaller painting focussing on the house, using three small oak planks, probably spares from his studio  as the concept developed, seventeen more panels were added. It has influenced artists including John Constable, during his period working for Sir George Beaumont, who then owned the painting and later donated it to the National Gallery in 1823. The painting features the first convincing depiction of a mackerel sky.

Painting by Rembrandt: The Blinding of Samson is now in the Städel. The painting is the first of its kind in pictorial tradition. No other artist at the time had painted this specific narrative moment. This painting was a gift to the House of Orange, Rembrandt's current patron of a few commissioned paintings.

1636

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1637

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1638

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1639

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Painting by Georges de La Tour: Magdalene with the Smoking Flame has been allotted the date of 1640, by analogy with the Saint Mary with a Mirror, which has been dated between 1635 and 1645. During the 17th century, great devotion was shown to Mary Magdalene in all Catholic countries. She was the perfect lover of Christ, her beauty made yet more appealing by reason of her repentance, which had a special attraction for a period so passionately interested in problems of mysticism, quietism and asceticism. The theme of the repentance of sinners and trials sent by God is illustrated in such subjects as the Repentance of St. Peter, Mary Magdalene and Job. A number of written works give evidence of the cult of the Magdalene and this cult was the more widespread since Provence owned two great sanctuaries dedicated to her: the grotto of La Sainte-Baume, and the Saintes-Maries-de-la-Mer. It has been suggested that Georges de La Tour took a gypsy as his model: at the time, there were many in Lorraine where he painted this picture.

Painting by José de Ribera: The Clubfooted Boy is housed in the Musée du Louvre in Paris (part of the La Caze bequest of 1869), and was painted in Naples. Art historian Ellis Waterhouse wrote of it as "a touchstone by which we can interpret the whole of Ribera's art". Commissioned by a Flemish dealer, the painting features a Neapolitan beggar boy with a deformed foot. Behind him is a vast and luminous landscape, against which the boy stands with a gap-toothed grin, wearing earth-toned clothes and holding his crutch slung over his left shoulder. Written in Latin on the paper in the boy's hand is the sentence "DA MIHI ELEMOSINAM PROPTER AMOREM DEI" ("Give me alms, for the love of God"). This is one of the painter's last works, and one of the most bitter.

Painting by Rembrandt: The Night Watch is renowned for three characteristics: its colossal size (363 cm × 437 cm (11.91 ft × 14.34 ft)), the effective use of light and shadow (tenebrism) and the perception of motion in what would have traditionally been a static military portrait. The painting was completed in 1642, at the peak of the Dutch Golden Age. It depicts the eponymous company moving out, led by Captain Frans Banning Cocq (dressed in black, with a red sash) and his lieutenant, Willem van Ruytenburch (dressed in yellow, with a white sash). With effective use of sunlight and shade, Rembrandt leads the eye to the three most important characters among the crowd: the two gentlemen in the centre (from whom the painting gets its original title), and the woman in the centre-left background carrying a chicken. Behind them, the company's colours are carried by the ensign, Jan Visscher Cornelissen.

In France, King Louis XIV establishes The Royal Academy of Painting and Sculpture.

1648

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1649

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Painting by Diego Velázquez: Portrait of Innocent X is considered by many artists and art critics as the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. The painting is noted for its realism, in that it is an unflinching portrait of a highly intelligent, shrewd but aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains. The pope, born Giovanni Battista Pamphilj, was initially wary of having his portrait taken by Velázquez, but relented after he was given reproductions of examples of Velázquez's portraiture. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. Yet the pope remained wary and cautious, and the painting was initially displayed to only his immediate family, and was largely lost from public view through the 17th and 18th centuries. The parchment held by the pope contains Velázquez's signature.

1650

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1651

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Painting by Carel Fabritius: The Goldfinch is an animal painting by Carel Fabritius of a chained goldfinch. The work belongs to the collection of the Mauritshuis in The Hague, Netherlands. The painting is a trompe-l'il of a European goldfinch (Carduelis carduelis) on top of its feeder that is attached to the wall. The feeder consists of two half rings and a blue container. The bird is sitting on the top ring, to which it is chained by its foot. In the 17th century, goldfinches were popular pets because they could be trained to draw water from a bowl with a miniature bucket. The Dutch title of the painting pertains to the bird's nickname puttertje, which refers to this custom and translates literally as 'little weller'.

1652

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Painting by Rembrandt: Aristotle Contemplating a Bust of Homer was painted as a commission from Don Antonio Ruffo, from Messina in Sicily, who did not request a particular subject. Aristotle, world-weary, looks at the bust of blind, humble Homer, on which he rests one of his hands. This has variously been interpreted as the man of sound, methodical science deferring to Art, or as the wealthy and famous philosopher, wearing the jeweled belt given to him by Alexander the Great, envying the life of the poor blind bard. It has also been suggested that this is Rembrandt's commentary on the power of portraiture.

1653

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1654

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Painting by Rembrandt: The Polish Rider depicts a young man traveling on horseback through a murky landscape. When the painting was sold by Zdzislaw Tarnowski to Henry Frick in 1910, there was consensus that the work was by the Dutch painter Rembrandt. This attribution has since been contested, though this remains a minority view. There has also been debate over whether the painting was intended as a portrait of a particular person, living or historical, and if so of whom, or if not, what it was intended to represent. Both the quality of the painting and its slight air of mystery are commonly recognized, though parts of the background are very sketchily painted or unfinished.

Painting by Rembrandt: The Slaughtered Ox is an oil on beech panel painting by Rembrandt. It has been in the collection of the Louvre in Paris since 1857. A similar painting is in Kelvingrove Art Gallery and Museum, possibly by Rembrandt himself but probably by one of his pupils, perhaps Fabritius. Other similar, paintings attributed to Rembrandt or his circle, are held by museums in Budapest and Philadelphia. The work follows in a tradition of showing butchery, for example Pieter Aertsen's A Meat Stall with the Holy Family Giving Alms and Annibale Carracci's Butcher's Shop. Rembrandt made a drawing of a similar scene c.1635. Another, pre-1655, painting of a slaughtered ox (the example in Edinburgh, now attributed to Rembrandt's circle but formerly to Rembrandt) was perhaps inspired by a lost earlier work by Rembrandt himself. In northern Europe, the month of November was traditionally the season slaughtering livestock in northern Europe, before winter made feed difficult to find.

1655

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Painting by Diego Velásquez: Las Meninas (The Ladies-in-Waiting) has a complex and enigmatic composition that raises questions about reality and illusion, and creates an uncertain relationship between the viewer and the figures depicted. Because of these complexities, Las Meninas has been one of the most widely analyzed works in Western painting. The painting shows a large room in the Royal Alcazar of Madrid during the reign of King Philip IV of Spain, and presents several figures, most identifiable from the Spanish court, captured, according to some commentators, in a particular moment as if in a snapshot. Some look out of the canvas towards the viewer, while others interact among themselves. The young Infanta Margaret Theresa is surrounded by her entourage of maids of honour, chaperone, bodyguard, two dwarfs and a dog. Just behind them, Velázquez portrays himself working at a large canvas. Velázquez looks outwards, beyond the pictorial space to where a viewer of the painting would stand. In the background there is a mirror that reflects the upper bodies of the king and queen. They appear to be placed outside the picture space in a position similar to that of the viewer, although some scholars have speculated that their image is a reflection from the painting Velázquez is shown working on. Las Meninas has long been recognised as one of the most important paintings in Western art history. The Baroque painter Luca Giordano said that it represents the "theology of painting" and in 1827 the president of the Royal Academy of Arts Sir Thomas Lawrence described the work in a letter to his successor David Wilkie as "the true philosophy of the art". More recently, it has been described as "Velázquez's supreme achievement, a highly self-conscious, calculated demonstration of what painting could achieve, and perhaps the most searching comment ever made on the possibilities of the easel painting".

1656

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1657

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1658

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1659

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Painting by Jacob von Ruisdale: The Jewish Cemetery is an oil on canvas painting. It is an example of Dutch Golden Age painting and is now in the collection of the Detroit Institute of Arts. This painting was documented by John Smith in 1835, who wrote: "This grand and affecting picture exhibits the ruins of a church and convent upon the summit of a hill, occupying the whole extent of the view in the second distance, the declivity of which presents a cemetery, interspersed with large stones. On the foreground are a broken tree lying across a rapid stream, a tomb of black marble, with an inscription on it; a row of three sarcophagi extending along the front; and on the left stands a cluster of large umbrageous trees, the verdant hues of whose foliage is contrasted by the leafless trunk of a beech. Three persons in black are seen near a small tomb on the side of the hill, musing amidst the tombs. The grandeur and solemnity of the scene is strikingly enhanced by rolling stormy clouds, in which may be perceived the evanescent colours of a rainbow.

Painting by Frans Hals The Governors of the Almshouse is a regents' group portrait of five regents and their servant painted by Frans Hals in 1664 for the Oude Mannenhuis in Haarlem, the Netherlands. It forms a pendant with the Regentesses of the Old Men's Almshouse. Though it is no longer known which name belongs with which face, the regents portrayed were Jonas de Jong, Mattheus Everzwijn, dr. Cornelis Westerloo, Daniel Deinoot and Johannes Walles. Frans Hals painted them in his "loose style", with rough brush strokes. The painting is traditionally dated 1664, though no archival evidence has yet been found to confirm this. The date is chosen as the middle of the term that the sitters served as regents. Though the paintings as pendants seem to belong together, they did not hang together, and as was the case in the St. Elisabeth hospital across the street, they probably each hung in a separate regents' meeting room; the one for the ladies in the ladies' meeting room and the one for the men in the men's meeting room.

1664

Isaac Newton discovers that white light is composed of different colors.

Painting by Jan Vermeer: The Art of Painting is one of Vermeer's most famous. In 1868 Thoré-Bürger, known today for his rediscovery of the work of painter Johannes Vermeer, regarded this painting as his most interesting. Svetlana Alpers describes it as unique and ambitious; Walter Liedtke "as a virtuoso display of the artist's power of invention and execution, staged in an imaginary version of his studio ..." According to Albert Blankert "No other painting so flawlessly integrates naturalistic technique, brightly illuminated space, and a complexly integrated composition." Many art historians think that it is an allegory of painting, hence the alternative title of the painting. Its composition and iconography make it the most complex Vermeer work of all.

1667

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1668

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Painting by Willem Kalf: Still Life with a Chinese Porcelain Jar is a sumptuous still life displaying the sort of costly wares that flowed through the Netherlands during its heyday as a trade center. In Still Life with a Chinese Porcelain Jar, Kalf selected an array of precious objects with which to showcase the wealth and refinement of the Netherlands and his own skills as a painter. Everything is expensive, imported, or both. The citrus fruit, glassware from Venice, and Chinese porcelain jar are evidence of Dutch sailors' enterprise. Local talent is displayed by Dutch silver and a rummer, or wineglass, with a cherub holding a cornucopia at its base. They stand on a marble tabletop with a carelessly crumpled oriental rug. Amid all that luxury is a lesson: a ticking watch on the silver platter reminds the viewer that such earthly riches are fleeting, and worth far less than eternal salvation. The carefully balanced composition, rich colors, and warm tonalities make this painting an object of beauty as well as moral edification.

Painting by Jan Steen: Merrymaking at an Inn combines the Flemish tradition of low-life tavern scenes with the more elegant Dutch merry companies.

1674

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1675

The English physicist Sir Isaac Newton argues that light is composed of particles, which are refracted by acceleration toward a denser medium, and posits the existence of aether to transmit forces between the particles.

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1676

The first quantitative estimate of the speed of light was made in 1676 by Danish astronomer Ole Rømer. From the observation that the periods of Jupiter's innermost moon Io appeared to be shorter when the Earth was approaching Jupiter than when receding from it, he concluded that light travels at a finite speed, and estimated that it takes light 22 minutes to cross the diameter of Earth's orbit. Christiaan Huygens combined this estimate with an estimate for the diameter of the Earth's orbit to obtain an estimate of speed of light of 220000 km/s, 26% lower than the actual value.

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1677

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1678

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1679

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1680

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1681

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Painting by Claude Lorraine: Landscape with Ascanius Shooting the Stag of Sylvia was painted in Rome for Prince Lorenzo Onofrio Colonna (16371689), Claude's most important patron in his last years, and is now in the Ashmolean Museum, Oxford. It is signed, dated with the year, and inscribed with the subject (at centre bottom), as Claude sometimes did with his less common subjects. It was Claude's last painting, and is perhaps not quite finished; it therefore does not appear in the Liber Veritatis, where he made drawings to record his finished works. His date of birth is uncertain, but he was at least in his late seventies when he painted it, perhaps as old as 82.

1682

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1683

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1684

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1685

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1686

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1687

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1688

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1689

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1690

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1691

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1692

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1693

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1694

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Painting by Rachel Ruysch: Flowers on a Ledge. Ruysch's skill lay in the minute observation of each flower in a totally realistic way which is then composed into an elaborate arrangement which would be very difficult to achieve in nature, as the flowers would not support each other so well under such an arrangement. In common with most flower pieces from the last third of the 17th century, the colors of the flowers are much more carefully balanced than in the earlier pictures.

1695

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1696

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1697

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1698

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Painting by Alexandre-François Desportes: Autoportrait en chasseur (Self-portrait as hunter). Desportes was born in Champigneulle, Ardennes. He studied in Paris, in the studio of the Flemish painter Nicasius Bernaerts, a pupil of Frans Snyders. During a brief soujourn in Poland, 169596, he painted portraits of John III Sobieski and Polish aristocrats; after the king's death Desportes returned to Paris, convinced that he should specialise in animals and flowers. He was received by the Académie de peinture et de sculpture in 1699, with the Self-Portrait in Hunting Dress now in the Musée du Louvre. In 171213 he spent six months in England. He received many commissions for decorative panels for the royal châteaux: Versailles, Marly, Meudon, Compiègne and, his last royal commission, for Louis XV at Choisy, 1742. He also did decorative paintings for the duc de Bourbon at Chantilly. Both Louis XIV and Louis XV commissioned portraits of their favorite hunting dogs.

1699

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1700

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1701

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1702

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1703

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1704

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1705

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1706

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1707

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1708

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1709

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1710

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1711

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1712

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1713

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1714

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1715

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1716

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1717

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1718

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1719

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1720

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1721

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1722

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1723

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1724

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1725

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1726

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1727

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1728

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1729

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1730

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1731

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1732

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1733

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1734

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1735

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1736

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1737

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1738

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1739

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1740

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1741

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1742

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1743

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1744

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1745

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1746

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1747

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1748

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1749

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Painting by Thomas Gainsborough: Mr and Mrs Andrews is one of his most famous works. However, it remained in the family of the sitters until 1960 and was very little known before it appeared in an exhibition in Ipswich in 1927. The work is an unusual combination of two common types of painting of the period: a double portrait, here of a recently married couple, and a landscape view of the English countryside. Gainsborough's work mainly consisted of these two different genres, but their striking combination side-by-side in this extended horizontal format is unique in Gainsborough's oeuvre, and extremely rare in other painters.

1750

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1751

Benjamin Franklin describes electricity as a single fluid and distinguishes between positive and negative electricity in Experiments and Observations on Electricity. He shows that electricity can magnetize and demagnetize iron needles.

Russian scientist Georg Wilhelm Richmann is killed performing a lightning experiment in St. Petersburg. Richmann is electrocuted in while trying to quantify the response of an insulated rod to a nearby storm. The incident, reported worldwide, underscored the dangers inherent in experimenting with insulated rods and in using protective rods with faulty ground connections.

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1754

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1755

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1756

William Cullen observes the cooling effect of evaporating liquids and publishes the results in An Essay on the Cold Produced by Evaporating Fluids and Other Means of Producing Cold.

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1757

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1758

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1759

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1760

Photometria by German physicist Johann Lambert is an investigation of light reflections from planets, introducing the term ALBEDO (whiteness) for the differing reflectivities of planetary bodies.

In experiments with primitive apparatus, Daniel Bernoulli decides that the electrical force obeys an inverse square law similar to that of gravity.

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1761

Joseph Black discovers latent heat by finding that ice, when melting, absorbs heat without changing in temperature. Later he measures the latent heat of steam — that is, the heat required to keep water boiling without raising its temperature.

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1762

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Painting by Joseph-Marie Vien: The Cupid Seller depicts a business transaction — the offer for sale of several wriggling cupids. The customers seem unimpressed.

1763

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1764

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Painting by John Singleton Copley: The Boy with a Squirrel, a portrait highly praised when exhibited in London. The subject is Copley's half-brother, Henry Pelham, seated at a table and playing with a pet squirrel. This picture, which made the young Boston painter a Fellow of the Society of Artists of Great Britain, by vote of September 3, 1766, had been painted the preceding year

1765

Leonhard Euler gives a general treatment of the motion of rigid bodies, including the precession and nutation of earth, in Theoria motus corporum solidorum seu rigidorum (Theory of the motion of solid and rigid bodies).

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1766

Horace-Bénédict de Saussure invents the electrometer, a device for measuring the electric potential by means of the attraction or repulsion of charged bodies.

Painting by Claude Joseph Vernet: A Storm on a Mediterranean Coast. Perhaps no painter of landscapes or sea-pieces has ever made the human figure so completely a part of the scene depicted or so important a factor in his design. In this respect he was heavily influenced by Giovanni Paolo Panini, whom he probably met and worked with in Rome. Vernet's work draws on natural themes, but in a way that is neither sentimental or emotive. The overall effect of his style is wholly decorative.

Painting by Alexander Roslin: The Lady with the Veil is one of the Nationalmuseums best loved paintings. The woman in the portrait is partially hidden by a black silk veil. Beneath the veil she is dressed for a special occasion in white lace and pink silk. During the 18th century, theatre was an important part of the life of the upper classes. Dressing up, disguising oneself and playing dramatic roles was a common pastime. The Lady with the Veil shows how one could dress up à la bolonaise  in the style of Bologna.

1768

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1769

John Robison measures the repulsion between two charged bodies and shows that this force is inversely proportional to the distance between the two bodies.

Painting by Jean-Honoré Fragonard: Young Girl Reading, or The Reader (French: La Liseuse), is an 18th-century oil painting, purchased by the National Gallery of Art in Washington, DC in 1961 using funds donated by Ailsa Mellon Bruce, the daughter of Andrew W. Mellon, following her father's death. The work is more a genre painting of an everyday scene than a portrait, and the name of the sitter is not known. X-ray photography has revealed that the canvas originally featured a different head looking towards the viewer, which Fragonard painted over.

Painting by Thomas Gainsborough: The Blue Boy. Perhaps Gainsborough's most famous work, it is thought to be a portrait of Jonathan Buttall (17521805), the son of a wealthy hardware merchant, although this has never been proven. It is a historical costume study as well as a portrait: the youth in his 17th-century apparel is regarded as Gainsborough's homage to Anthony van Dyck, and in particular is very close to Van Dyck's portrait of Charles II as a boy.

Alessandro Volta describes his electrofore perpetuo device for producing and storing a charge of static electricity. This device replaces the Leyden jar and eventually leads to modern electrical condensers.

Painting by Joseph Wright: Vesuvius in Eruption is the subject of thirty paintings and at least one preliminary sketch by Joseph Wright of Derby, who travelled in Italy in the years 1773-1775. It appears that whilst Wright was in Italy Vesuvius was not erupting.

1776

Pierre-Simon Laplace states that if all of the forces on all objects in any one time are known, then the future can be completely predicted.

Painting by John Singleton Copley: Watson and the Shark about a shark attack on a swimmer, Brook Watson, that occurred in Havana, Cuba in 1749. Copley had never visited Havana, and it is likely that he had never seen a shark, much less a shark attack. It is probable that he gleaned details of Havana harbor from prints and book illustrations: he includes the real landmark of Morro Castle in the background of the painting. The shark is less convincing; it includes details not found in sharks, such as forward-facing eyes and lips.

1778

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1779

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1780

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Painting by Henry Fuseli: The Nightmare shows a woman in deep sleep with her arms thrown below her, and with a demonic and apelike incubus crouched on her chest. The painting's dream like and haunting erotic evocation of infatuation and obsession was a huge popular success. After its first exhibition, at the 1782 Royal Academy of London, critics and patrons reacted with horrified fascination and the work became widely popular, to the extent that it was parodied in political satire, and an engraved version was widely distributed. In response, Fuseli produced at least three other versions.

Horace-Bénédict de Saussure's Essais sur l'hygromé (Essay on measuring humidity) describes how to construct a hygrometer from human hair that can measure relative humidity.

Painting by Jacques-Louis David: Oath of the Horatii (French: Le Serment des Horaces), is now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public, and remains one of the best known paintings in the Neoclassical style. It depicts a scene from a Roman legend about a dispute between two warring cities, Rome and Alba Longa. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying whilst sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, in any case, she will lose someone she loves. The painting is considered a paragon of neoclassical art.

1784

George Atwood accurately determines the acceleration of a free-falling body.

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1785

Couloumb makes precise measurements of the forces of attraction and repulsion between charged bodies and between magnetic poles, using a torsion balance, demonstrating conclusively that electric charge and magnetism obey inverse-square laws like that of gravity. He also discovers that electrically charged bodies discharge spontaneously. In the 20th century, it is found that cosmic radiation is responsible for this discharge.

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1786

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1787

Jacques-Alexandre Charles shows that different gases expand by the same amount for a given rise in temperature (Charles Law).

Painting by Francisco de Goya: Manuel Osorio Manrique de Zúñiga, also known as Goya's Red Boy. Vicente Joaquin Osorio de Moscoso y Guzmán Fernández de Córdoba (17561816), Count of Altamira, had hired Goya for several family portraits. Altamira held many titles and was also a director of the Banco de San Carlos. In 1786, after painting several portraits of the court, Goya was nominated painter to Charles III. This painting, from 178788, is of his youngest son, Manuel, who was born in April 1784 and died at age eight on June 12, 1792.

1788

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1789

The French chemist Antoine-Laurent de Lavoisier definitively states the Law of Conservation of Mass (although others had previously expressed similar ideas, including the ancient Greek Epicurus, the medieval Persian Nasir al-Din al-Tusi and the 18th Century scientists Mikhail Lomonosov, Joseph Black, Henry Cavendish and Jean Rey), and identifies (albeit slightly incorrectly) 23 elements which he claims can not be broken down into simpler substances.

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1790

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Painting by Élisabeth Vigée Le Brun: Lady Hamilton as a Bacchante Emma, Lady Hamilton, model and actress, is best remembered as the mistress of Lord Nelson and as the muse of George Romney. She was born Amy Lyon in Ness near Neston, Cheshire, England, the daughter of Henry Lyon, a blacksmith who died when she was two months old. She was raised by her mother, the former Mary Kidd, at Hawarden, and received no formal education. She later changed her name to Emma Hart.

1791

Luigi Galvani announces that electricity applied to severed frog's legs causes them to twitch and that frogs legs twitch in the presence of two different metals with no electric current present. The latter discovery eventually leads to Alessandro Volta's developing the electric battery.

Pierre Prévost develops his theory of exchanges of radiation of heat. He correctly shows that cold is merely the absence of heat and that all bodies continually radiate heat. If they seem not to radiate heat, it means that they are in heat equilibrium with their environment.

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1792

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Painting by Jacques-Louis David: The Death of Marat (French: La Mort de Marat or Marat Assassiné) is one of the most famous images of the French Revolution. David was the leading French painter, as well as a Montagnard and a member of the revolutionary Committee of General Security. The painting shows the radical journalist lying dead in his bath on 13 July 1793 after his murder by Charlotte Corday. Painted in the months after Marat's murder, it has been described by T. J. Clark as the first modernist painting, for "the way it took the stuff of politics as its material, and did not transmute it".

1793

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1794

Alessandro Volta demonstrates that the electric force observed by Galvani is not connected with living creatures, but can be obtained whenever two different metals are placed in a conducting fluid.

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1795

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1796

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1797

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1798

Henry Cavendish determines the mass of Earth by measuring the gravity between two small masses and two large masses. This gives the gravitational constant G, which was the only unknown in Newton's equations. Solving for G enables Cavendish to establish that Earth is about 5.5 times as dense as water.

Enquiry concerning the source of heat which is excited by friction by Count Rumford (Benjamin Thompson) describes his experiments with boring cannons that show that the caloric theory of heat cannot be true, and that heat should be considered a kind of motion.

Painting by Jacques-Louis David: The Intervention of the Sabine Women shows a legendary episode following the abduction of the Sabine women by the founding generation of Rome. The genesis of Les Sabines and the work itself represented a significant departure for the day. Historical depictions had been typically commissioned. David however, conceived, produced and promoted his work for profit. He produced marketing material to accompany the first exhibition. Le Tableau des Sabines, Exposé Publiquement au Palais National des Sciences et des Arts "the Tableau of the Sabines, Public Exhibition at the National Palace of Arts and Science" contained his own account of the episode and anticipated the controversy over his use of nudity with an end-note explaining his rationale. Its 1799 exhibition attracted a large number of paying visitors for several years and in 1819 he sold Les Sabines and his Léonidas at Thermopylae to the Royal Museums for 10,000 francs.

1799

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Painting by Francisco de Goya: The Nude Maja (Spanish: La Maja Desnuda) portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as La maja vestida (The Clothed Maja); also in the Prado, it is usually hung next to La maja desnuda. The subject is identified as a maja based on her costume in La maja vestida. The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. With this work Goya not only upset the ecclesiastical authorities, but also titillated the public and extended the artistic horizon of the day. It has been in the Museo del Prado in Madrid since 1901.

1800

Alessandro Volta announces his invention, made in 1799, of the electric battery, also known as the Voltaic pile. It consists of a stack of alternating zinc and silver discs separated by felt soaked in brine. It is the first source of a steady electric current.

William Herschel's "An investigation of the powers of prismatic colors to heat and illuminate objects" tells of his discovery of infrared radiation. While investigating the power of different parts of the spectrum to heat a thermometer, he finds that invisible light beyond the red produces the most heat.

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1801

The English scientist Thomas Young demonstrates, in his famous double-slit experiment, the interference of light and concludes that light is a wave, not a particle as Sir Isaac Newton had ruled.

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1802

Thomas Young's On the theory of light and colors is the first of three pivotal papers describing his wave theory of light.

Painting by Francisco de Goya: The Clothed Maja (Spanish: La maja vestida) is a clothed version of the earlier La maja desnuda (1797–1800) and is exhibited next to it in the same room at the Prado Museum in Madrid. It was twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Spanish Inquisition between 1814 and 1836, and has been in the Museo del Prado since 1901.

1803

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1804

John Leslie'sAn experimental inquiry into the nature and propagation of heat establishes that the transmission of heat through radiation has the same properties as the propagation of light.

The English chemist John Dalton develops his atomic theory, proposing that each chemical element is composed of atoms of a single unique type, and that, though they are both immutable and indestructible, they can combine to form more complex structures.

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1806

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1807

Thomas Young introduces the concept of, and is the first to use the word, ENERGY.

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1808

Étienne-Louis Malus discovers that reflected light is polarized and introduces the term POLARIZATION.

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1809

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1810

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1811

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1812

William Hyde Wollaston invents the camera lucida, a device for projecting an image onto a flat surface, such as drawing paper, on which the object can then be traced.

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1813

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Painting by Francisco de Goya: The Third of May 1808 (also known as El tres de mayo de 1808 en Madrid or Los fusilamientos de la montaña del Príncipe Pío, or Los fusilamientos del tres de mayo) is now in the Museo del Prado, Madrid. In the work, Goya sought to commemorate Spanish resistance to Napoleon's armies during the occupation of 1808 in the Peninsular War. Along with its companion piece of the same size, The Second of May 1808 (or The Charge of the Mamelukes), it was commissioned by the provisional government of Spain at Goya's suggestion. The painting's content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, The Third of May 1808 marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era. According to the art historian Kenneth Clark, The Third of May 1808 is "the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention".

Painting by Jean Auguste Dominique Ingres: Grande Odalisque, also known as Une Odalisque or La Grande Odalisque depicts an odalisque, or concubine. Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism. Grande Odalisque attracted wide criticism when it was first shown. It has been especially noted for the elongated proportions and lack of anatomical realism. The work is displayed in the Louvre, Paris. The painting was commissioned by Napoleon's sister, Queen Caroline Murat of Naples, and finished in 1814. Ingres drew upon works such as Dresden Venus by Giorgione, and Titian's Venus of Urbino as inspiration for his reclining nude figure, though the actual pose of a reclining figure looking back over her shoulder is directly drawn from the 1809 Portrait of Madame Récamier by Jacques-Louis David. Madame Récamier painted by Jacques-Louis David (1800). Ingres portrays a concubine in languid pose as seen from behind with distorted proportions. The small head, elongated limbs, and cool color scheme all reveal influences from Mannerists such as Parmigianino, whose Madonna with the Long Neck was also famous for anatomical distortion. This eclectic mix of styles, combining classical form with Romantic themes, prompted harsh criticism when it was first shown in 1814. Critics viewed Ingres as a rebel against the contemporary style of form and content

1814

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1815

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1816

Augustin Fresnel demonstrates with his mirror experiment the wave nature of light. He also gives an explanation of polarization.

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1817

Thomas Young and Augustin Fresnel demonstrated that light waves must be transverse vibrations.

painting by Caspar David Friedrich: Wanderer above the Sea of Fog (German: Der Wanderer über dem Nebelmeer), also known as Wanderer Above the Mist or Mountaineer in a misty Landscape, currently resides in the Kunsthalle Hamburg in Hamburg, Germany. Wanderer above the Sea of Fog is true to the Romantic style and Friedrich's style in particular. Gorra's (2004) analysis was that the message conveyed by the painting is one of Kantian self-reflection, expressed through the wanderer's gazings into the murkiness of the sea of fog.

1818

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Painting by Théodore Géricault: The Raft of the Medusa (French: Le Radeau de la Méduse) was completed when the artist was 27. The work has become an icon of French Romanticism. At 16' 1" × 23' 6", it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today's Mauritania on 2 July 1816. On 5 July 1816, at least 147 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation and dehydration and practised cannibalism. Géricault chose to depict this event in order to launch his career with a large-scale uncommissioned work on a subject that had already generated great public interest. The event fascinated him, and before he began work on the final painting, he undertook extensive research and produced many preparatory sketches. He interviewed two of the survivors and constructed a detailed scale model of the raft. He visited hospitals and morgues where he could view, first-hand, the colour and texture of the flesh of the dying and dead. As he had anticipated, the painting proved highly controversial at its first appearance in the 1819 Paris Salon, attracting passionate praise and condemnation in equal measure. However, it established his international reputation, and today is widely seen as seminal in the early history of the Romantic movement in French painting.

1819

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1820

André-Marie Ampère formulates one of the basic laws of electromagnetism, the right-hand rule for the influence of an electric current on the magnet and demonstrates that two wires that are carrying an electric current will attract or repel each other, depending on whether the occurrence are in opposite where the same directions.

Dominique-François Arago discovers the magnetic effect of electricity passing through a copper wire, demonstrating that iron is not necessary for magnetism.

Augustin-Jean Fresnel invents the so-called Fresnel lens, a lens used in lighthouses.

The science of electrodynamics is born with the announcement of Hans Christian Ørsted's discovery of electromagnetism.

Painting by John Constable: The Hay Wain depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings. Painted in oils on canvas, the work depicts as its central feature three horses pulling what in fact appears to be a wood wain or large farm cart across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far left. The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex.

1821

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1822

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1823

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1824

Réflexions sur la puissance motrice du feu (On the motive power of fire) by Nicolas Léonard Sadi Carnot shows that work is done as heat passes from a high temperature to a low temperature; defines work; hints at the second law of thermodynamics; and suggests internal combustion engines.

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1825

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1826

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1827

Theory of systems of rays by William Rowan Hamilton is a unification of the study of optics through the principle of "varying action". It contains his correct prediction of conical refraction. When his prediction is verified, he becomes a well-known and is knighted.

Joseph Henry shows that passing an electric current through a wire wrapped into coils produces a greater magnetic field than is produced when that same current is passed through a straight wire, and that an insulated wire wrapped around an iron core can produce a powerful electromagnet.

Painting by Eugène Delacroix: Liberty Leading the People (French: La Liberté guidant le peuple) commemorates the July Revolution of 1830, which toppled King Charles X of France. A woman personifying the concept and the Goddess of Liberty leads the people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution — the tricolour flag, which remains France's national flag — in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting.

1830

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1831

Independently, Michael Faraday and Joseph Henry discover that electricity can be induced by changes in a magnetic field (electromagnetic induction), a discovery leading to the first electric generators.

Mathematician Carl Friedrich Gauss (1777-1855) shows that the origin of the Earth's magnetic field must lie deep inside the Earth. He makes use of the measurements of the magnetic field made by the physicist Paul Erman in 1828.

Painting by Caspar David Friedrich: The Stages of Life (German: Die Lebensstufen) is an allegorical oil painting completed just five years before his death. This picture, like many of his works, forms a meditation both on his own mortality and on the transience of life. The painting is set on a sea shore and shows in the foreground an aged man with his back turned to the viewer, walking towards two adults and two children on a hilltop overlooking a harbour. The figures are echoed by five ships shown in the harbour, each at a different distance from the shore, an allegorical reference to the different stages of human life, to the end of a journey, to the closeness of death. The figures have been identified as Friedrich and his family. The aged man is the artist himself, the small boy is his young son Gustav Adolf, the young girl is his daughter Agnes Adelheid, the older girl is his daughter Emma, and the man in the top hat is his nephew Johann Heinrich.}The Stages of Life (German: Die Lebensstufen) is an allegorical oil painting of 1835 by the German Romantic landscape painter Caspar David Friedrich. Completed just five years before his death, this picture, like many of his works, forms a meditation both on his own mortality and on the transience of life. The painting is set on a sea shore and shows in the foreground an aged man with his back turned to the viewer, walking towards two adults and two children on a hilltop overlooking a harbour. The figures are echoed by five ships shown in the harbour, each at a different distance from the shore, an allegorical reference to the different stages of human life, to the end of a journey, to the closeness of death. The figures have been identified as Friedrich and his family. The aged man is the artist himself, the small boy is his young son Gustav Adolf, the young girl is his daughter Agnes Adelheid, the older girl is his daughter Emma, and the man in the top hat is his nephew Johann Heinrich.

1835

Gustave-Gaspard Coriolis's Mémoire sur les equations du mouvement relatif des sytèms de corps (Memoir on the equations of relative movement of systems of bodies) describes the Coriolis effect: the deflection of a moving body caused by Earth's rotation. The Coriolis effect is important in the study of wind. However, the claim that the Coriolis effect determines the direction water rotates when going down a drain is a myth.

Daguerreotype by Louis Daguerre: The earliest reliably dated photograph of people, taken one spring morning in 1838 from the window of the Diorama, where Daguerre lived and worked. It bears the caption huit heure du matin (8 a.m.). Though it shows the busy Boulevard du Temple, the long exposure time (about ten or twelve minutes) meant that moving traffic cannot be seen; however, the bootblack and his customer at lower left remained still long enough to be distinctly visible. The building signage at the upper left shows that the image is laterally (left-right) reversed, as were most daguerreotypes.

1838

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1839

The English scientist Michael Faraday concludes from his work on electromagnetism that, contrary to scientific opinion of the time, the divisions between the various kinds of electricity are illusory. He also establishes that magnetism can affect rays of light, and that there is an underlying relationship between the two phenomena.

German physician and physicist Julius Robert Mayer is the first to state the law of conservation of energy, noting specifically that heat and mechanical energy are two aspects of the same thing.

On the uniform motion of heat in homogeneous solid bodies, by William Thomson, aka Lord Kelvin (1824-1907), is published. Thomson's concern with the physics of cooling bodies will draw him into debates concerning the age of the Earth. In 1846 he calculates that the Earth can be no more than 100 million years old.

The change in the observed frequency of waves emitted from a source, moving relative to the observer, is described by Christian Johann Doppler (1803-1853). This phenomenon is now known as the Doppler Effect.

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1843

James Prescott Joule determines the mechanical equivalent of heat by measuring the rise in temperature produced in water by stirring it.

The Open Door is an early calotype, included in The Pencil of Nature, the first commercially published book to be illustrated with photographs.

The Pencil of Nature, published in six installments between 1844 and 1846, was the "first photographically illustrated book to be commercially published" or "the first commercially published book illustrated with photographs". It was wholly executed by the new art of Photogenic Drawing, without any aid whatever from the artist's pencil and regarded as an important and influential work in the history of photography. Written by William Henry Fox Talbot and published by Longman, Brown, Green & Longmans in London, the book detailed Talbot's development of the calotype process and included 24 calotype prints, each one pasted in by hand, illustrating some of the possible applications of the new technology. Since photography was still very much a novelty and many people remained unfamiliar with the concept, Talbot felt compelled to insert the following notice into his book: The plates of the present work are impressed by the agency of Light alone, without any aid whatever from the artist's pencil. They are the sun-pictures themselves, and not, as some persons have imagined, engravings in imitation.

1844

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1845

Michael Faraday relates magnetism to light after finding the magnetic field effects the polarization of light in crystals. He proposes that light may be waves of electromagnetism. He also describes the phenomena of diamagnetism and paramagnetism, which he explains in terms of his concept of a magnetic field.

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1846

James Prescott Joule discovers that the length of an iron bar changes slightly when the bar is magnetized.

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1847

Über die Erhaltung der Kraft ("On the Conservation of Force"), by Hermann Ludwig von Helmholtz (1821-1894), is published. It articulates what later becomes known as the Conservation of Energy.

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1848

An absolute scale of temperatures is proposed by William Thomson (1824-1907). Thomson will become Baron Kelvin of Largs, in 1892, and the scale will come to bear his name.

Armand Hippolyte Louis Fizeau suggests that light from a source of moving away from the observer will be shifted toward the red end of the spectrum, a phenomenon known as redshift. This is closely related to, but not exactly the same as, the Doppler effect.

Painting by Gustave Courbet: The Stone Breakers (French: Les Casseurs de pierres) is a work of social realism, depicting two peasants, a young man and an old man, breaking rocks. The painting was first exhibited at the Paris Salon of 1850. It was destroyed during World War II, along with 154 other pictures, when a transport vehicle moving the pictures to the castle of Königstein, near Dresden, was bombed by Allied forces in February 1945.

1849

Armand Hippolyte Louis Fizeau measures the velocity of light in error by measuring the time it takes for a beam of light to pass between the teeth of a rotating gear. The light is reflected by a mirror and stopped by the next tooth of the gear. The result, 315,000 km/se4c (196,000 miles/sec), is within 5% of today's accepted value.

In describing Sadi Carnot's theory of heat, published in 1824, William Thomson (1824-1907) uses the term THERMODYNAMICS.

The speed of light is measured by physicist Armand Hippolyte Louis Fizeau (1819-1896) to be approximately 186,000 miles per second.

Painting by Gustave Courbet: A Burial At Ornans (French: Un enterrement à Ornans, also known as A Funeral At Ornans) represents one of the major turning points of 19th-century French art. The painting records the funeral in September 1848 of his great-uncle in the painter's birthplace, the small town of Ornans. It treats an ordinary provincial funeral with unflattering realism, and on the giant scale traditionally reserved for the heroic or religious scenes of history painting. Its exhibition at the 1850–51 Paris Salon created an "explosive reaction" and brought Courbet instant fame. It is currently displayed at the Musée d'Orsay in Paris, France.

1850

In Über die bewegende Kraft der Wärme, mathematical physicist Rudolf Julius Emanuel Clausius articulates what comes to be known as the Second Law of Thermodynamics. The law states that heat can only be transferred from a warmer body to a colder body. In 1865, he'll restate the Law, saying that in the closed system entropy always increases.

Daguerreotype by John Adams Whipple: Daguerreoype of the moon. Whipple was an American inventor and early photographer. He was the first in the United States to manufacture the chemicals used for daguerreotypes; he pioneered astronomical and night photography; he was a prize-winner for his extraordinary early photographs of the moon; and he was the first to produce images of stars other than the sun — the star Vega and the Mizar-Alcor stellar sextuple system, which was thought to be a double star until 2009.

1851

Léon Foucault demonstrates that the Earth rotates using a pendulum, suspended from the ceiling of a church.

Physicist William Thomson proposes a concept of "absolute zero", at which the energy of molecules is zero. He draws on Charles' Law to show that such a condition would hold at -273 degrees Celsius.

Daguerreotype by John Adams Whipple: Henry Winthrop Sargent and His Family. Whipple kept several distinctive pieces of furniture in his studio that he used to solidify his compositions by disposing them within an image in characteristic ways without having the sitter use them. In fact, it is this unique posing style that identifies Whipple as the artist of the portrait of Henry Winthrop Sargent and his family, taken in Boston in the early 1850s. Here, Whipples composition is complex and masterful. The empty armchair at the lower left faces the viewer and draws the eye in. The covered table at the far right connects an occupied chair to the edge of the plate and suggests a vanishing point while giving diagonal movement to what is basically a horizontal composition. The corner of a plain backdrop, barely perceptible at the right, aids the illusion of movement and space. The empty armchair acts as a backrest for young Francis Sargent, who is actually supported by a posing stand, the base of which can be seen between his feet and his mothers skirts. Caroline Olmsted Sargent appears to be reading a letter to her assembled family. Her oldest son, Winthrop Henry Sargent, sits facing her, and their profiles echo across the space as he leans toward her. Henry Winthrop Sargent, at the apex of the composition, leans dynamically into the gathering, supporting his weight on the back of a carved side chair. The division of the family into two pairs of linked figures creates powerful parallel diagonals; but despite this calculated arrangement, all of the sitters appear to be at ease and engaged with one another.

1852

James Prescott Joule and William Thompson, later Lord Kelvin, establish that an expanding gas becomes cooler. This is now known as the Joule-Thompson effect.

Daguerreotype by John Adams Whipple: Cornelius Conway Felton with His Hat and Coat. Felton was Eliot Professor of Greek Literature at Harvard University, reaching for his felt hat and duster. The first son of a poverty-stricken furniture maker, Felton became one of the most renowned classical scholars in the country and, in 1860, Harvard's president. This witty photograph lampoons the rigid formality of the portrait process through narrative gesture (the implied reach across two separate images) and nuance (the delicate crush of the soft hat's crown). As opposed to the inflexible silk top hat worn by dandies and professors alike, the broad-brimmed felt hat was worn by outdoorsmen and was practical, casual, and fundamentally democratic.

1853

Léon Foucault demonstrates that the velocity of light is lesson water than in air, tending to confirm the wave theory of light.

William John Macquorn Rankine introduces the concept of potential energy, or energy of position.

Painting by Gustave Courbet: The Meeting (French: La rencontre) is traditionally interpreted as Courbet greeted by his patron Alfred Bruyas, his servant Calas, and his dog while traveling to Montpellier. The composition is based on the Wandering Jew. The Meeting was exhibited in Paris at the 1855 Exhibition Universelle, where critics ridiculed it as "Bonjour, Monsieur Courbet". Bruyas did not exhibit The Meeting until he donated it to the Musée Fabre in Montpellier in 1868.

1854

(no entry for this year)

(no entry for this year)

1855

(no entry for this year)

Painting by Jean Auguste Dominique Ingres: The Source (French: La Source), was begun in Florence around 1820 and not completed until 1856, in Paris. When Ingres completed The Source, he was seventy-six years old, already famous, and president of the École des Beaux-Arts. The pose of the nude may be compared with that of another by Ingres, the Venus Anadyomene (1848), and is a reimagination of the Aphrodite of Cnidus or Venus Pudica. Two of Ingres' students, painters Paul Balze and Alexandre Desgoffe, helped to create the background and water jar. The first exhibition of The Source was in 1856, the year it was completed. The painting was received enthusiastically. Duchâtel acquired the painting in 1857 for a sum of 25,000 francs. The state assumed title to the painting in 1878 and it passed to the Musée du Louvre. In 1986 it was transferred to the Musée d'Orsay. The painting has been frequently exhibited and widely published. Haldane Macfall in A History of Painting: The French Genius describes The Source as Ingres' "superb nude by which he is chiefly known". Kenneth Clark in his book Feminine Beauty observed how The Source has been described as "the most beautiful figure in French painting."

Photograph by Gustave Le Gray: The Great Wave. The dramatic effects of sunlight, clouds, and water in Le Gray's seascapes stunned his contemporaries and immediately brought him international recognition. At a time when photographic emulsions were not equally sensitive to all colors of the spectrum, most photographers found it impossible to achieve proper exposure of both landscape and sky in a single picture. Le Gray solved this problem by printing two negatives on a single sheet of paper: one exposed for the sea, the other for the sky, and sometimes made on separate occasions or in different locations. Le Gray's marine pictures caused a sensation not only because their simultaneous depiction of sea and heavens represented a technical tour de force, but also because the resulting poetic effect was without precedent in photography.

Painting by Jean-François Millet: The Gleaners (Des glaneuses) depicts three peasant women gleaning a field of stray grains of wheat after the harvest. The painting is famous for featuring in a sympathetic way what were then the lowest ranks of rural society; this was received poorly by the French upper classes. The painting immediately drew negative criticism from the middle and upper classes, who viewed the topic with suspicion: one art critic, speaking for other Parisians, perceived in it an alarming intimation of "the scaffolds of 1793." Its size (33×44 inches) was also considered offensive, as it was too large for an image depicting mere labor.

1857

Über die Art der Bewegung, welche wir Wäe nennen (On the type of motion turned heat) by Rudolf Clausius is establishes his kinetic theory of heat of the mathematical basis. It also explains how evaporation occurs.

(no entry for this year)

1858

Julius Plücker shows that cathode rays bend under the influence of a magnet, suggesting they are connected in some way with charge. This is an early step along the path that will lead in 1897 to the discovery that cathode rays are composed of electrons.

Gustav Kirchoff recognizes that sodium is found on the sun and discovers his black-body radiation law.

Physicist Gustav Robert Kirchhoff and chemist R. W. Bunsen explain that when light passes through a gas, or heated material, only certain wavelengths of the light are absorbed. Therefore, an analysis of the spectrum of the light can reveal the chemical makeup of the gas or material.

"A Veteran with his Wife", taken by an anonymous photographer, shows a British veteran of the Napoleonic era Peninsular Wars. It is a hand-tinted ambrotype using the set collodion positive process, made circa 1860.

Painting by Edgar Degas: The Bellelli Family, also known as Family Portrait, is housed in the Musée d'Orsay. A masterwork of Degas' youth, the painting is a portrait of his aunt, her husband, and their two young daughters. While finishing his artistic training in Italy, Degas drew and painted his aunt Laura, her husband the baron Gennaro Bellelli, and their daughters Giulia and Giovanna. Although it is not known for certain when or where Degas executed the painting, it is believed that he utilized studies done in Italy to complete the work after his return to Paris. Laura, his father's sister, is depicted in a dress which symbolizes mourning for her father, who had recently died and appears in the framed portrait behind her. Laura Bellelli's countenance is dignified and austere, her gesture connected with those of her daughters. Her husband, by contrast, appears to be separated from his family. His association with business and the outside world is implied by his position at his desk. Giulia holds a livelier pose than that of her sister Giovanna, whose restraint appears to underscore the familial tensions.

Painting by Gustave Courbet: The Source shows a nude in an unflinchingly naturalistic style and is devoid of the trappings of academic allegory to which the paintings title alludes. Courbet is thought to have intended it as a response to Ingress own La Source (1856, Musée dOrsay, Paris), which was exhibited at the Galerie Martinet, Paris, in 1861. The picture by Ingres depicts an idealized nude holding a jar from which water pours, an allusion to a spring or river source, and symbolizing poetic inspiration.

1862

(no entry for this year)

Photograph by John Adams Whipple: Asa Gray, an albumen print. Gray was considered the most important American botanist of the 19th century. His Darwiniana was considered an important explanation of how religion and science were not necessarily mutually exclusive. As a professor of botany at Harvard University for several decades, Gray regularly visited, and corresponded with, many of the leading natural scientists of the era, including Charles Darwin, who held great regard for him. Gray made several trips to Europe to collaborate with leading European scientists of the era, as well as trips to the southern and western United States. He also built an extensive network of specimen collectors.

Painting by Édouard Manet: Olympia shocked the art world with its style (strong brush strokes, considered childish and unskilled) and its subject matter, a nude white woman ("Olympia"), presumably a courtesan, lying on a bed being brought flowers by a black servant. When hung in the Salon of Paris in 1865, it was met with jeers, laughter, criticism, and disdain, and was attacked by the public, the critics, the newspapers. Guards were stationed to protect it, until it was moved to a spot high above a doorway, out of reach.

Painting by Édouard Manet: Le Déjeuner sur l'herbe (English: The Luncheon on the Grass) is a large oil on canvas painting depicting a female nude and a scantily dressed female bather on a picnic with two fully dressed men in a rural setting. Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit this and two other paintings in the 1863 Salon des Refusés where the painting sparked public notoriety and controversy. The piece is now in the Musée d'Orsay in Paris. A smaller, earlier version can be seen at the Courtauld Gallery, London. The painting features a nude woman casually lunching with two fully dressed men. Her body is starkly lit and she stares directly at the viewer. The two men, dressed as young dandies, seem to be engaged in conversation, ignoring the woman. In front of them, the woman's clothes, a basket of fruit, and a round loaf of bread are displayed, as in a still life. In the background, a lightly clad woman bathes in a stream. Too large in comparison with the figures in the foreground, she seems to float above them. The roughly painted background lacks depth — giving the viewer the impression that the scene is not taking place outdoors, but in a studio. This impression is reinforced by the use of broad "studio" light, which casts almost no shadows. The man on the right wears a flat hat with a tassel, of a kind normally worn indoors. Despite the mundane subject, Manet deliberately chose a large canvas size, measuring 81.9 by 104.1 inches, normally reserved for historical, religious, and mythological subjects. The style of the painting breaks with the academic traditions of the time. He did not try to hide the brush strokes; the painting even looks unfinished in some parts of the scene.

Painting by Jean Auguste Dominique Ingres: The Turkish Bath (Le Bain Turc) depicts a group of nude women in the bath of a harem, and is painted in a highly erotic style that evokes both the near east and earlier western styles associated with mythological subject matter. Painted on canvas laid down on wood, it measures 108 x 108 cm. The work is signed and dated 1862, when Ingres was around 82 years old, and was completed in 1863. In that year Ingres altered the painting's original rectangular format, and cut the painting to its present tondo form. Photographs of the painting in its original format survive. It seems based on an April 1717 written description of a Turkish harem by Lady Mary Montagu, where she mentions having viewed some two hundred nude women. The painting develops and elaborates a number of motifs Ingres had explored in earlier paintings, in particular his 1808 The Valpinçon Bather and Grande Odalisque of 1814. Its erotic content did not provoke a scandal, since for much its existence it has remained in private collections. It is now in the Louvre, Paris.

1863

(no entry for this year)

(no entry for this year)

1864

James Clerk Maxwell's A dynamical theory of the electromagnetic field is the first of his publications to use Michael Faraday's concept of a field as the basis of the mathematical treatment of electricity and magnetism. It introduces Maxwell's equations to describe electromagnetism.

Painting by Ford Madox Brown: Work is generally considered to be his most important achievement. It exists in two versions. The painting attempts to portray, both literally and analytically, the totality of the Victorian social system and the transition from a rural to an urban economy. Brown began the painting in 1852 and completed it in 1865, when he set up a special exhibition to show it along with several of his other works. He wrote a detailed catalogue explaining the significance of the picture. The picture depicts a group of so-called "navvies" digging up the road to build an underground tunnel. It is typically assumed that this was part of the extensions of London's sewerage system, which were being undertaken to deal with the threat of typhus and cholera. The workers are in the centre of the painting. On either side of them are individuals who are either unemployed or represent the leisured classes. Behind the workers are two wealthy figures on horseback, whose progress along the road has been halted by the excavations. The painting also portrays an election campaign, evidenced by posters and people carrying sandwich boards with the name of the candidate "Bobus". A poster also draws attention to the potential presence of a burglar. The setting is an accurate depiction of The Mount on Heath Street in Hampstead, London, where a side road rises up above the main road and runs alongside it. Brown made a detailed study of the location in 1852.

1865

Rudolf Clausius invents the term ENTROPY to describe the degradation of energy in the closed system.

(no entry for this year)

1866

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1867

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1868

(no entry for this year)

Painting by : At the Races in the Countryside. This painting was one of the first works that Degas sold (in 1872) to Paul Durand-Ruel, the dealer who became the early champion of the Impressionists. It is not only a landscape but also a scene from everyday life and - most of all - a family portrait. The driver of the carriage is Degass friend Paul Valpinçon, who is shown with his wife, a wet nurse, and in the nurses lap, the couples son, Henri.

1869

(no entry for this year)

(no entry for this year)

1870

(no entry for this year)

Painting by Ilia Efimovich Repin: Barge Haulers on the Volga or Burlaki (Russian: Burlaki na Volge) is an 187073 oil-on-canvas painting depicting laboring men dragging a barge on the Volga River. The men seem to almost collapse forward in exhaustion under the burden of hauling a large boat upstream in heavy, hot weather. The work is both a celebration of the men's dignity and fortitude, and a highly emotional condemnation of those who sanctioned such inhumane labor. Although they are presented as stoical and accepting, the men are largely defeated; only one stands out: in the center of both the row and canvas, a brightly colored youth fights against his leather binds and takes on a heroic pose.

Painting by James McNeill Whistler: Arrangement in Grey and Black No.1, best known under its colloquial name Whistler's Mother, depicts Whistler's mother, Anna McNeill Whistler. The painting is 56.81 by 63.94 inches, displayed in a frame of Whistler's own design. It is exhibited in and held by the Musée d'Orsay in Paris, having been bought by the French state in 1891. It is one of the most famous works by an American artist outside the United States. It has been variously described as an American icon and a Victorian Mona Lisa.

1871

George Johnstone Stoney notes that the wavelengths of three lines in the hydrogen spectrum are found to have simple ratios, and anticipation of Balmer's formula, an important step towards understanding the structure of the atom.

James Clerk Maxwell explains how his statistical theory of heat works by inventing MAXWELL'S DEMON, a mythical creature that can see and handle individual molecules. By opening a gate between two vessels containing a gas only one of fast molecules passing into one, the demon would make heat flow from cold to hot.

Painting by Claude Monet: Impression, Sunrise (French: Impression, soleil levant) was shown at what would later be known as the "Exhibition of the Impressionists" in April 1874. The painting depicts the port of Le Havre, Monet's hometown, and is his most famous painting of the harbor. Monet claimed that he titled the painting Impression, Sunrise due to his hazy painting style in his depiction of the subject: "They asked me for a title for the catalogue, it couldn't really be taken for a view of Le Havre, and I said: 'Put Impression.'" In addition to this explanation for the title of the work, art historian Paul Smith claims that Monet might have named the painting Impression to excuse his painting from accusations of being unfinished or lacking descriptive detail, but Monet received these criticisms regardless of the title

1872

(no entry for this year)

Painting by Claud Monet: Boulevard des Capucines. From the late 1860s, Monet and other like-minded artists, met with rejection from the conservative Académie des Beaux-Arts which held its annual exhibition at the Salon de Paris. During the latter part of 1873, Monet, Renoir, Pissarro, and Sisley organized the Société anonyme des artistes peintres, sculpteurs et graveurs to exhibit their artworks independently. At their first exhibition, held in April 1874, Monet exhibited the work that was to give the group its lasting name, Impression, Sunrise. Among the works Monet included in the first Impressionist exhibition was The Luncheon, 1868, which features Camille Doncieux and Jean Monet. The painting was rejected by the Paris Salon of 1870. Also in this exhibition was a painting titled Boulevard des Capucines, a painting of the boulevard done from the from the studio of Monet's friend, the photographer Felix Nadar.

Painting by Edgar Degas: A Cotton Office in New Orleans depicts the artist's uncle Michel Musson's cotton brokerage business (which several years later went bankrupt in an economic crash, according to Michael McMahon of the Pittsburgh Post-Gazette when the firm was swamped by the postwar growth of the much larger Cotton Exchange). In the painting, Musson is seen examining raw cotton for its quality while Degas' brother René reads The Daily Picayune. Another brother, Achille, rests against a window wall at left while others, including Musson's partners, go about their business. A Cotton Office in New Orleans was the first painting by Degas to be purchased by a museum, and the first by an Impressionist. Degas' sale of the piece marked a turning point in his career as he moved from being a struggling, unrecognized artist to a recognized and financially stable artist, according to Marilyn Brown in her book Degas and the Business of Art: A Cotton Office in New Orleans. Degas traveled from Europe to New Orleans in late 1872 with his brother, René, to visit his mother's brother, Michael Musson. After the American Civil War, René had joined his uncle's cotton business in New Orleans. Degas was to return to Europe in January 1873, but when his return trip was delayed, he was asked by his relatives to paint their portraits, and decided to show them as a group, at work in the family office.

1873

James Clerk Maxwell's Electricity and Magnetism contains the basic laws of electromagnetism and predicts, in great detail, such phenomena as radio waves and pressure caused by light rays.

Painting by Edgar Degas: The Ballet Class (French: La Classe de danse) is in the collection of the Musée d'Orsay, Paris, France. It was commissioned by Jean-Baptiste Faure. Degas temporarily abandoned work on this painting, and delivered a work of a similar name to Faure. The painting depicts dancers at the end of a lesson under ballet master Jules Perrot. Perrot and Degas were friends, and Perrot allowed Degas access to dance classes.

Painting by Pierre-Auguste Renoir: La Loge (The Theatre Box) depicts an elegant-looking couple sitting in an elevated theater box. This tribute to Parisian modern life was also the artist's principal contribution to the very first Impressionist exhibition of the same year, and it was met with much acclaim. It is now part of the collection at Courtauld Institute of Art in London.

1874

Irish physicist George J. Stoney estimates the charge of the then unknown electron to be about 10-20 coulomb, close to the modern value of 1.6021892 x 10-19. He also introduces the term ELECTRON.

The Cavendish laboratory at Cambridge is completed. Although widely believed to have been named after the 18th-century physicist Henry Cavendish, it is, in fact, named after the entire Cavendish family, because the 19th century steel-making descendent of Henry, William Cavendish, financed the laboratory. The structure of DNA was worked out at the Cavendish many years later by Watson and Crick.

Painting by Claude Monet: Woman with a Parasol - Madame Monet and Her Son, sometimes known as The Stroll (French: La Promenade) depicts his wife Camille Monet and their son Jean Monet in the period from 1871 to 1877 while they were living in Argenteuil, capturing a moment on a stroll on a windy summer's day. The work is a genre painting of an everyday family scene, not a formal portrait. The work was painted outdoors, en plein air, and quickly, probably in a single period of a few hours. It measures 100 × 81 centimetres (39 × 32 in), his largest work in the 1870s, and is signed "Monet 75" in the lower right corner.

Painting by Thomas Eakins: The Gross Clinic, or, The Clinic of Dr. Gross, is large painting, measuring 8 feet (240 cm) by 6.5 feet (200 cm). Dr. Samuel D. Gross, a seventy-year-old professor dressed in a black frock coat, lectures a group of Jefferson Medical College students. Admired for its uncompromising realism, The Gross Clinic has an important place documenting the history of medicineboth because it honors the emergence of surgery as a healing profession (previously, surgery was associated primarily with amputation), and because it shows us what the surgical theater looked like in the nineteenth century. In 1875, anesthesia was used, but sterile procedures were not.

1875

(no entry for this year)

Painting by Pierre-Auguste Renoir: Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. The painting depicts a typical Sunday afternoon at Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening. Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering light.

1876

Eugen Goldstein shows that the radiation in a vacuum tube produced when an electric current is forced through the tube starts at the cathode. Goldstein introduces the term CATHODE RAY to describe the light emitted.

Early color photo of Agen, France, by Louis Ducos du Hauron, 1877. The cathedral in the scene is the Cathédrale Saint-Caprais d'Agen.

Painting by Claude Monet: The Gare Saint-Lazare: Arrival of a Train. The Gare Saint-Lazare has been represented in a number of artworks. It attracted artists during the Impressionist period and many of them lived very close to the Gare St-Lazare during the 1870s and 1880s. In 1877, painter Claude Monet rented a studio near the Gare Saint Lazare. That same year he exhibited seven paintings of the railway station in an impressionist painting exhibition. He completed several paintings of this subject. The Gare Saint-Lazare is far different than Monet's previous paintings of harbors, boats and oceans that viewers had seen before. The Gare Saint-Lazare series of paintings lead the viewers through a tour of the train station in different points of the day. Monet exemplifies the modern life, in all its chaos and instability, The steam coming from the trains creates a way of dissolving the train and showing the impressionistic style of blending colors and light. Everything dissipates with the steam of the train and turns into a flurry of blended colors. As said by Émile Zola, Monet is able to turn a normally dirty and gritty place into a peaceful and beautiful scene You can hear the trains rumbling in, see the smoke billow up under the huge roofs that is where painting is today our artists have to find the poetry in train station, the way their fathers found the poetry in forests and rivers. Monets work on the Gare Saint-Lazare is unparalleled in its evocation of steamm and the smoke-filled station. In spite of the impressionist style, the work reproduces accurately the topography of the area, even allowing one to deduce the precise point where the artist was standing while painting. This is the first time an artist had showed a single theme through a series of variations

Painting by Claude Monet: The Gare Saint-Lazare. The Gare Saint-Lazare has been represented in a number of artworks. It attracted artists during the Impressionist period and many of them lived very close to the Gare St-Lazare during the 1870s and 1880s. In 1877, painter Claude Monet rented a studio near the Gare Saint Lazare. That same year he exhibited seven paintings of the railway station in an impressionist painting exhibition. He completed several paintings of this subject. The Gare Saint-Lazare is far different than Monet's previous paintings of harbors, boats and oceans that viewers had seen before. The Gare Saint-Lazare series of paintings lead the viewers through a tour of the train station in different points of the day. Monet exemplifies the modern life, in all its chaos and instability, The steam coming from the trains creates a way of dissolving the train and showing the impressionistic style of blending colors and light. Everything dissipates with the steam of the train and turns into a flurry of blended colors. As said by Émile Zola, Monet is able to turn a normally dirty and gritty place into a peaceful and beautiful scene You can hear the trains rumbling in, see the smoke billow up under the huge roofs that is where painting is today our artists have to find the poetry in train station, the way their fathers found the poetry in forests and rivers. Monets work on the Gare Saint-Lazare is unparalleled in its evocation of steamm and the smoke-filled station. In spite of the impressionist style, the work reproduces accurately the topography of the area, even allowing one to deduce the precise point where the artist was standing while painting. This is the first time an artist had showed a single theme through a series of variations

Painting by Gustave Caillebotte: Paris Street; Rainy Day (French Rue de Paris, temps de pluie) is his best known work. It shows a number of individuals walking through the Place de Dublin, in 1877 known as the Carrefour de Moscou, at an intersection to the east of the Gare Saint-Lazare in north Paris. Although Caillebotte was a friend and patron of many of the impressionist painters, and this work is part of that school, it differs in its realism and reliance on line rather than broad brush strokes. Caillebotte's interest in photography is evident. The figures in the foreground appear "out of focus", those in the mid-distance (the carriage and the pedestrians in the intersection) have sharp edges, while the features in the background become progressively indistinct. The severe cropping of some figures — particularly the man to the far right — further suggests the influence.

1877

(no entry for this year)

Photograph by Eadweard Muybridge: Sallie Gardner at a Gallop, also known as The Horse in Motion, is a series of photographs consisting of a galloping horse, the result of a photographic experiment on June 15, 1878. Sometimes cited as an early silent film, the series and later experiments like it were precursors to the development of motion pictures. The series consists of 24 photographs shot in rapid succession that were shown on a zoopraxiscope. Muybridge was commissioned by Leland Stanford, the industrialist and horseman, who was interested in gait analysis. The purpose of the shoot was to determine whether a galloping horse ever lifts all four feet completely off the ground during the gait; at this speed, the human eye cannot break down the action. Muybridge arranged 24 cameras, 27 inches apart, along a track parallel to the horse's path, with their shutters controlled by trip wires triggered by the horse's legs. The stop-action photographs showed the mare lifted all four legs off the ground at certain points during the gallop. Run together, the photographs produced the effect of the horse in motion, or a film.

1878

(no entry for this year)

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1879

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(no entry for this year)

1880

Pierre Curie discovers the piezoelectric effect: certain substances produce an electric current when they are physically distorted, and conversely they are physically distorted when an electric current is applied to them. This effect has many applications, including, in the 21st century, the construction of high-end tweeters in stereo systems.

Painting by Pierre-Auguste Renoir: The Umbrellas (French: Les Parapluies) is an oil-on-canvas painting, painted in two phases in the 1880s. It is owned by the National Gallery in London as part of the Lane Bequest, but is displayed alternately in London and at the Dublin City Gallery The Hugh Lane. In May 2013, it returned to Dublin for a six-year period. Renoir began the painting in about 1880-81, using the loose brushwork with dark and bright tones typical of the Impressionist movement. In about 1885-6, after losing his attachment to Impressionism and drawing inspiration from classical art he had seen in Italy and the works of Ingres and Cézanne, he reworked parts of the painting, particularly the principal female figure to the left of the frame, in a more classical linear style using more muted colours, and added the background and the umbrellas themselves. X-ray photography has shown that the clothing of the female figure was originally different: she wore a hat and her dress had horizontal rows of frills, with white lace at its cuffs and collar, suggesting that she was middle class, whereas the simpler clothes in the revised painting mark her out as a member of the working class, a grisette not a bourgeoise. The x-ray analysis and then the changing fashions allow the periods of work to be dated with reasonable accuracy.

1881

Hermann Ludwig von Helmholtz shows that the electrical charges in atoms are divided into definite integral portions, suggesting the idea that there is a smallest unit of electricity.

Painting by Édouard Manet: A Bar at the Folies-Bergère (French: Un bar aux Folies Bergère), is considered Manet's last major work. It depicts a scene in the Folies Bergère nightclub in Paris. It originally belonged to the composer Emmanuel Chabrier, who was Manet's neighbor, and hung over his piano. The painting exemplifies Manet's commitment to Realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles. The central figure stands before a mirror, although critics — accusing Manet of ignorance of perspective and alleging various impossibilities in the painting — have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet.

Painting by John Singer Sargent: Lady with the Rose (Charlotte Louise Burckhardt). The subject of this portrait was the twenty-year-old daughter of a Swiss merchant and his American wife, members of the artists cosmopolitan circle in Paris. Did she enjoy the experience? Look at her expression.

Sculpture by Auguste Rodin: The sculpture, The Kiss, was originally titled Francesca da Rimini, as it depicts the 13th-century Italian noblewoman immortalised in Dante's Inferno (Circle 2, Canto 5) who falls in love with her husband Giovanni Malatesta's younger brother Paolo. Having fallen in love while reading the story of Lancelot and Guinevere, the couple are discovered and killed by Francesca's husband. In the sculpture, the book can be seen in Paolo's hand. The lovers' lips do not actually touch in the sculpture, suggesting that they were interrupted and met their demise without their lips ever having touched. When critics first saw the sculpture in 1887, they suggested the less specific title Le Baiser (The Kiss).

1882

John William Strutt, Lord Rayleigh, discovers that the ratio of the atomic mass of oxygen to that of hydrogen is not 16 exactly, as had been assumed, but 15.882.

(no entry for this year)

1883

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1884

(no entry for this year)

Painting by Vincent van Gogh: The Potato Eaters (Dutch: De Aardappeleters). Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work: "You see, I really have wanted to make it so that people get the idea that these folk, who are eating their potatoes by the light of their little lamp, have tilled the earth themselves with these hands they are putting in the dish, and so it speaks of manual labor and — that they have thus honestly earned their food. I wanted it to give the idea of a wholly different way of life from ours — civilized people. So I certainly don't want everyone just to admire it or approve of it without knowing why."

1885

Johann Jakob Balmer discovers the formula for the hydrogen spectrum that will later inspire Niels Bohr to develop his model of the atom.

Painting by Georges Seurat: A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) is one of the artist's most famous works. It is a leading example of pointillism technique, executed on a large canvas. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine. Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting. Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called divisionism at the time but now known as pointillism, would make the colors more brilliant and powerful than standard brushstrokes.

1886

William Crookes proposes that atomic weights measured by chemists are averages of the weights of different kinds of atoms of the same element (although it will not be until 1910 that Frederick Soddy identifies these different kinds of atoms as isotopes).

(no entry for this year)

1887

Albert Michelson and Edward Morley measure the velocity of light in two directions, attempting to detect the proper motion of Earth through the ether (a hypothesized fluid that was assumed to fill all space, providing a medium for the transport of electromagnetic waves). The Michelson Morley experiment reveals no evidence of motion.

Ernst Mach notes that airflow becomes disturbed at the speed of sound.

Painting by Sir Lawrence Alma-Tadema: The Roses of Heliogabalus shows a group of Roman diners at a banquet, being swamped by drifts of pink rose petals falling from a false ceiling above. The Roman emperor Elagabalus reclines on a platform behind them, wearing a golden robe and a tiara, watching the spectacle with other garlanded guests. A woman plays the double pipes beside a marble pillar in the background, wearing the leopard skin of a maenad, with a bronze statue of Dionysus, based on the Ludovisi Dionysus, in front of a view of distant hills. The painting depicts a (probably invented) episode in the life of the Roman emperor Elagabalus, also known as Heliogabalus, (204–222), taken from the Augustan History. Although the Latin refers to "violets and other flowers", Alma-Tadema depicts Elagabalus smothering his unsuspecting guests with rose petals released from a false ceiling.

Painting by Vincent van Gogh: Sunflowers (original title, in French: Tournesols). Sunflowers are the subject of two series of still life paintings by the Dutch painter . The earlier series, executed in Paris in 1887, depicts the flowers lying on the ground, while the second set, executed a year later in Arles, shows bouquets of sunflowers in a vase. In the artist's mind both sets were linked by the name of his friend Paul Gauguin, who acquired two of the Paris versions. About eight months later van Gogh hoped to welcome and to impress Gauguin again with Sunflowers, now part of the painted Décoration for the Yellow House that he prepared for the guestroom of his home in Arles, where Gauguin was supposed to stay. After Gauguin's departure, van Gogh imagined the two major versions as wings of the Berceuse Triptych, and finally he included them in his Les XX in Bruxelles exhibit

1888

Heinrich Rudolf Hertz produces and detects radio waves for the first time. Radio waves will be called Hertzian waves until renamed by Marconi, who calls them radiotelegraphy waves.

Painting by Vincent van Gogh: The Starry Night depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an idealized village. It is regarded as among Van Gogh's finest works, and is one of the most recognized paintings in the history of Western culture. In the aftermath of the 23 December 1888 breakdown that resulted in the self-mutilation of his left ear, Van Gogh voluntarily admitted himself to the Saint-Paul-de-Mausole lunatic asylum on 8 May 1889. Housed in a former monastery, Saint-Paul-de-Mausole catered to the wealthy and was less than half full when Van Gogh arrived, allowing him to occupy not only a second-story bedroom but also a ground-floor room for use as a painting studio.

1889

George Francis Fitzgerald formulates the principle that objects shrink slightly in the direction they are traveling, now known as the Fitzgerald-Lorenz contraction, since Hendrik Antoon Lorentz reaches the same conclusion a few years later.

(no entry for this year)

1890

(no entry for this year)

(no entry for this year)

1891

(no entry for this year)

Painting by Paul Gauguin: Spirit of the Dead Watching (Manao tupapau) is an oil on burlap canvas depicting a naked Tahitian girl lying on her stomach. An old woman is seated behind her. Gauguin said the title may refer to either the girl imagining the ghost, or the ghost imagining her. The subject of the painting is Gauguin's young native wife Teha'amana (called Tehura in his letters), who one night, according to Gauguin, was lying in fear when he arrived home late: " ... motionless, naked, belly down on the bed: she stared up at me, her eyes wide with fear, '... Perhaps she took me, with my anguished face, for one of those legendary demons or specters, the Tupapaus that filled the sleepless nights of her people."

1892

(no entry for this year)

Painting by Edvard Munch: The Scream (Norwegian: Skrik). The same title — The Scream — is the popular name given to each of four versions of a composition, created as both paintings and pastels, by Norwegian Expressionist artist between 1893 and 1910. The German title Munch gave these works is Der Schrei der Natur (The Scream of Nature). The works show a figure with an agonized expression against a landscape with a tumultuous orange sky. Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time." Edvard Munch created the four versions in various media. The National Gallery in Oslo, Norway, holds one of two painted versions (1893, shown here). The Munch Museum holds the other painted version and a pastel version from 1893. The fourth version (pastel, 1895) was sold for $119,922,600 at Sotheby's Impressionist and Modern Art auction on 2 May 2012 to financier Leon Black, the fourth highest nominal price paid for a painting at auction. The painting was on display in the Museum of Modern Art in New York from October 2012 to April 2013.

Painting by Franz Stuck: The Sin (German: Die Sünde) depicts the nude Eve with a big serpent wrapped around her body. In the upper right corner is a bright field, while the rest of the surroundings are dark. The motif was conceived as a development of Stuck's 1889 painting Sensuality (Die Sinnlichkeit). The Sin was first exhibited in 1893, at the inaugural exhibition of the Munich Secession, where it caused a sensation. It was bought by the Neue Pinakothek in Munich and became a critical and commercial breakthrough for Stuck. It has since become an emblematic painting for the symbolist movement. Stuck made twelve known versions of the painting. Some of these can be viewed at the Neue Pinakothek in Munich, the National Gallery in Berlin, the Galleria di arte Moderna in Palermo, the Frye Art Museum in Seattle, and at the Villa Stuck in Munich, where it is enshrined in the artist's Künstleraltar.

1893

Wilhelm Wien discovers that the maximum wavelength emitted by hot body varies inversely with its absolute temperature. Wien's law becomes useful in establishing the temperature of stars. The problems he has with deriving an equation to describe black-body radiation lead to Max Planck's introduction of the quantum in 1900.

Painting by Claude Monet: The Rouen Cathedral, Full Sunlight was one of a series, with each painting in the series intended to capture the facade of the Rouen Cathedral at different times of the day and year, reflecting changes in its appearance under different lighting conditions. The Rouen Cathedral paintings, more than thirty in all, were made in 1892 and 1893, then reworked in Monet's studio in 1894. Monet rented spaces across the street from the cathedral, where he set up temporary studios for the purpose. In 1895, he selected what he considered to be the twenty best paintings from the series for display at his Paris dealer's gallery, and of these he sold eight before the exhibition was over. Pissarro and Cézanne visited the exhibition and praised the series highly. When Monet painted the Rouen Cathedral series, he had long since been impressed with the way light imparts to a subject a distinctly different character at different times of the day and the year, and as atmospheric conditions change. For Monet, the effects of light on a subject became as important as the subject itself.

1894

Joseph John (J.J.) Thomson announces that he has found that the velocity of cathode rays is much lower than that of light.

(no entry for this year)

1895

Charles Thomson Rees Wilson develops the CLOUD CHAMBER, a box containing a gas that is saturated. When a charged particle passes through the gas, small droplets are formed that make the track of the particle visible. The cloud chamber becomes a powerful tool in particle physics.

Pierre Curie shows that as the temperature of the magnet is increased, there is a level at which the magnetism is disrupted and ceases to exist. This temperature is still called the Curie point.

Wilhelm Konrad Röntgen (Roentgen) discovers X-rays, which will soon be applied in the visualization of bodily structures and in the induction of genetic mutations (both intentionally and accidentally).

(no entry for this year)

1896

Antoine-Henri Becquerel discovers rays produced by uranium — the first observation of natural radioactivity.

Painting by Paul Gauguin: Where Do We Come From? What Are We? Where Are We Going?. Gauguin inscribed the original French title in the upper left corner: D'où Venons Nous / Que Sommes Nous / Où Allons Nous. The inscription the artist wrote on his canvas has no question mark, no dash, and all words are capitalized. In the upper right corner he signed and dated the painting: P. Gauguin / 1897. The painting was created in Tahiti, and is in the Museum of Fine Arts in Boston, Massachusetts, USA. Gauguin had been a student at the Petit Séminaire de La Chapelle-Saint-Mesmin, just outside Orléans, from the age of eleven to the age of sixteen. His subjects there included a class in Catholic liturgy; the teacher for this class was the Bishop of Orléans, Félix-Antoine-Philibert Dupanloup. Dupanloup had devised his own catechism to be lodged in the minds of the young schoolboys, and to lead them towards proper spiritual reflections on the nature of life. The three fundamental questions in this catechism were: "Where does humanity come from?" "Where is it going to?", "How does humanity proceed?". Although in later life Gauguin was vociferously anticlerical, these questions from Dupanloup's catechism obviously had lodged in his mind, and "where?" became the key question that Gauguin asked in his art.

1897

Joseph John Thomson discovers the electron, the first known particle that is smaller than an atom, in part because he has better vacuum pumps that were previously available. He, and independently, Emil Wiechert, determine the ratio of mass to charge of the particles by deflecting them by electric and magnetic fields.

Marie Curie begins research of "uranium rays" that will lead to the discovery of radioactivity.

Paul Ulrich Villard is the first to observe a radiation that is more penetrating than X-rays, now called gamma rays.

On December 14, Max Planck announces the first step toward quantum theory. He states that substances can emit light only at certain energies, which implies that some physical processes are not continuous, but occur only in specified amounts called quanta.

Painting by Gustav Klimt: Judith and the Head of Holofernes (also known as Judith I) depicts the biblical character of Judith holding the severed head of Holofernes. Judith I reveals a curious symbolic and compositional consonance with The Sin by Franz Stuck: the temptation illustrated by the German painter becomes the model for Klimt's femme fatale by suggesting the posture of the disrobed and evanescent body as focal piece of the canvas, as well as the facial set. Judith's force originates from the close-up and the solidity of posture, rendered by the orthogonal projection of lines: to the body's verticality (and that of Holofernes') corresponds to the horizontal parallels in the lower margin: those of the arm, the shoulders joined by the collier, and finally the hair base.

1901

(no entry for this year)

(no entry for this year)

1902

(no entry for this year)

Painting by Pablo Picasso: The Old Guitarist depicts an old, blind, haggard man with threadbare clothing weakly hunched over his guitar, playing in the streets of Barcelona, Spain. It is currently on display in the Art Institute of Chicago as part of the Helen Birch Bartlett Memorial Collection. At the time of The Old Guitarist's creation, Modernism, Impressionism, Post-Impressionism, and Symbolism had merged and created an overall movement called Expressionism which greatly influenced Picasso's style. Furthermore, El Greco, Picasso's poor standard of living, and the suicide of a dear friend influenced Picasso's style at the time which came to be known as his Blue Period. In the early 1960s, nearly forty percent of all college dorm rooms had a poster of this painting on the wall.

1903

Physicist Ernest Rutherford lectures the British Association that radioactivity could power the sun and maintain its heat, meaning the sun and Earth could be much older than Lord Kelvin's estimate.

Painting by Henri Matisse: Luxe, Calme et Volupté is an oil painting by the French artist Henri Matisse. Both foundational in the oeuvre of Matisse and a pivotal work in the history of art, Luxe, Calme et Volupté is considered the starting point of Fauvism. Luxe, Calme et Volupté was painted by artist called Matisse in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the neo-Impressionist painters Paul Signac and Henri-Edmond Cross. The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac.

Painting by Maxfield Parrish: The Dinky Bird, an illustration from Poems of Childhood exemplifies Parrish's characteristic use of androgynous figures. To a modern eye, Parrish's early work — characterized by himself as "girls on rocks" — may bring to mind the words kitsch or schlock or schmaltz or maudlin, but to many who were enduring the Great Depression or World War II, his images, like Busby Berkeley musicals, inspired a bit of hope — an imagining that things did not always have to be this bad. During those hard times, many a lower middle class American living room had one or more cheap Parrish prints, sometimes just a page from a magazine, adorning the wall.

1904

(no entry for this year)

Painting by Gustav Klimt: Margaret "Gretl" Stonborough-Wittgenstein. Stonborough-Wittgenstein, a member of the prominent and wealthy Viennese Wittgenstein family, was a sister of the philosopher Ludwig Wittgenstein and the pianist Paul Wittgenstein. She was the subject of a portrait painted for her wedding by the artist Gustav Klimt (Stonborough-Wittgenstein and other members of the Wittgenstein family were among Klimt's most important patrons), which was sold in 1960 by her son Thomas and may now be seen in the Neue Pinakothek gallery in Munich. Aside: The painting appears briefly behind Ava, an AI robot, in the film Ex Machina (a film that is an excellent exploration of artificial intelligence, the nature of consciousness, and passing a Turing Test).

Painting by Henri Matisse: Woman with a Hat (La femme au chapeau) depicts Matisse's wife, Amelie. It was painted in 1905 and exhibited at the Salon d'Automne during the fall of the same year, along with works by André Derain, Maurice de Vlaminck and several other artists known as "Fauves". Woman with a Hat was at the center of the controversy that led to the term Fauvism. It was also a painting that marked a stylistic shift in the work of Matisse from the Divisionist brushstrokes of his earlier work to a more expressive style. Its loose brushwork and "unfinished" quality shocking viewers as much as its vivid, non-naturalistic colors. Although the Fauve works on display were condemned by many — "A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair — they also gained some favorable attention. The painting that was singled out for attacks was Matisse's Woman with a Hat.

1905

Albert Einstein proposes the special theory of relativity (E=mc2).

painting by Henri Matisse: Le bonheur de vivre (The Joy of Life) is (along with Picasso's Les Demoiselles d'Avignon) regarded as one of the pillars of early modernism. The monumental canvas was first exhibited at the Salon des Indépendants of 1906, where its cadmium colors and spatial distortions caused a public expression of protest and outrage. "The work is known to have invigorated fellow artists, especially Pablo Picasso, who, in an effort to outdo Matisse in terms of shock value, immediately began work on his watershed Les Demoiselles D'Avignon," writes Martha Lucy, associate curator at the Barnes Foundation.

1906

(no entry for this year)

Painting by Gustav Klimt : The Kiss (Lovers) was painted by the Austrian Symbolist painter Gustav Klimt between 1907 and 1908, the highpoint of his "Golden Period", when he painted a number of works in a similar gilded style. A perfect square, the canvas depicts a couple embracing, their bodies entwined in elaborate robes decorated in a style influenced by both linear constructs of the contemporary Art Nouveau style and the organic forms of the earlier Arts and Crafts movement. The work is composed of oil paint with applied layers of gold leaf, an aspect that gives it its strikingly modern, yet evocative appearance. The painting is now in the Österreichische Galerie Belvedere museum in the Belvedere palace, Vienna, and is widely considered a masterpiece of the early modern period. It is a symbol of Vienna JugendstilViennese Art Nouveauand is considered Klimt's most popular work

Painting by Gustav Klimt: Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) was completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Jewish banker and sugar producer. It is the final and most fully representative work of Klimt's golden phase. The portrait was the first of two depictions of Adele by Klimt — the second was completed in 1912; these were two of several works by the artist that the family owned. Adele died in 1925; her will asked that the artworks by Klimt were to be left to the Österreichische Galerie Belvedere, although these belonged to Ferdinand, not her.

Painting by Ivan Grohar: The Sower (Slovene: Sejalec), is an image of a peasant sowing seeds on a ploughed field in an early and foggy morning. A hayrack, typical of the Slovene landscape, stands in the back, and even farther, the rocks of the small hill Kamnitnik near Škofja Loka. It has been a metaphor for the 19th-century myth of Slovenes as a vigorous nation in front of an unclear destiny, a symbol for the Slovene nation that sows in order that it could harvest, and a depiction of human interrelatedness with the nature. It is also a reflection of the context of Slovene transition from a rural to an urban culture. It has become one of the most characteristic and established Slovene creations in visual arts.

Painting by Pablo Picasso: Les Demoiselles d'Avignon (The Young Ladies of Avignon, and originally titled The Brothel of Avignon) portrays five nude female prostitutes from a brothel on Carrer d'Avinyó (Avinyó Street) in Barcelona. Each figure is depicted in a disconcerting confrontational manner and none are conventionally feminine. In this adaptation of Primitivism and abandonment of perspective in favor of a flat, two-dimensional picture plane, Picasso makes a radical departure from traditional European painting. This proto-Cubist work is widely considered to be seminal in the early development of both Cubism and Modern art. Les Demoiselles was revolutionary and controversial, and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Matisse considered the work something of a bad joke, yet indirectly reacted to it in his 1908 Bathers with a Turtle. Braque too initially disliked the painting, yet perhaps more than anyone else, studied the work in great detail. And effectively, his subsequent friendship and collaboration with Picasso led to the Cubist revolution

Henri Matisse coins the term "Cubism" — the first Cubist exhibition opens in Paris.

Sculpture by Constantin Brâncusi: The Kissis an early example of his proto-cubist style of non-literal representation. This plaster was exhibited at the 1913 Armory Show and published in the Chicago Tribune, 25 March 1913. This early plaster sculpture is one of six casts that Brancusi made of the 1907–08 The Kiss. The original stone carving is in the Muzeul de Arta at Craiova, Romania. Brâncusi created many versions of The Kiss, further simplifying geometric forms and sparse objects in each version, tending each time further toward abstraction. His abstract style emphasizes simple geometrical lines that balance forms inherent in his materials with the symbolic allusions of representational art. Here, the shape of the original block of material is maintained.

1907

(no entry for this year)

Painting by Georges Braque: Houses at l'Estaque (French: Maisons à l'Estaque) is considered either an important Proto-Cubist landscape or the first Cubist landscape. The painting prompted art critic Louis Vauxcelles to mock it as being composed of cubes which led to the name of the movement. This painting by Braque was refused at the Salon d'Automne in 1908. Louis Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Six landscapes painted at L'Estaque signed Georges Braque were presented to the Jury of the Salon d'Automne: Guérin, Marquet, Rouault and Matisse rejected Braque's entire submission. Guérin and Marquet elected to keep two in play. Braque withdrew the two in protest, placing the blame on Matisse.

1908

(no entry for this year)

Painting by Henri Matisse: Dance (La Danse). The title refers to either of two related paintings made between 1909 and 1910. The first, preliminary version is Matisse's study for the second version. The composition or arrangement of dancing figures is reminiscent of Blake's watercolour "Oberon, Titania and Puck with fairies dancing" from 1786.

1909

(no entry for this year)

Painting by Henri Rousseau: The Dream (French: Le Rêve, occasionally also known as Le Songe or Rêve exotique) is a large oil-on-canvas painting, one of more than 25 Rousseau paintings with a jungle theme. His last completed work, it was first exhibited at the Salon des Indépendants from 18 March to 1 May 1910, a few months before his death on 2 September 1910. Rousseau's earlier works had received a negative reception, but poet and critic Guillaume Apollinaire remarked on its debut: "The picture radiates beauty, that is indisputable. I believe nobody will laugh this year." The Dream is the largest of the jungle paintings, measuring 6' 8.5" × 9' 9.5". It features an almost surreal portrait of Yadwigha (Jadwiga), Rousseau's Polish mistress from his youth, lying naked on a divan to the left of the painting, gazing over a landscape of lush jungle foliage, including lotus flowers, and animals including birds, monkeys, an elephant, a lion and lioness, and a snake. French art dealer Ambroise Vollard (the same Vollard who purchased 250 paintings from Cézanne for 50 francs each) bought the painting from Rousseau in February 1910

Painting by Pablo Picasso: Girl with a Mandolin is an early example of the artist's analytic cubist style. By the winter of 1909/10 Picasso's pictorial language had already become increasingly hard to decipher. He was steadily divesting his paintings of mere likeness, not that this was synonymous with a progressive elimination of the subject: his paintings were becoming more abstract but not entirely so.

1910

(no entry for this year)

Painting by Georges Braque: The Portuguese

painting by Wassily Kandinsky: Composition IV is the fourth of a series of paintings that explore the artist's attempts to represent the structure and form of music through the medium of painting. The painting measures 62 7/8 × 98 5/8 inches, and it is in the Hermitage Museum in St. Petersburg, Russia. It was made using oil paints on canvas.

1911

(no entry for this year)

Painting by Giacomo Balla: Dynamism of a Dog on a Leash (Italian: Dinamismo di un cane al guinzaglio), sometimes called Dog on a Leash or Leash in Motion, depicts a dachshund on a leash and the feet of a lady walking it, both in rapid motion as indicated by the blurring and multiplication of their parts. It is considered one of his best-known works, and one of the most important works, in Futurism. Chronophotograpic studies of animals in motion, created by scientist Étienne–Jules Marey beginning in the 1880s, led to the introduction in painting of techniques to show motion, such as blurring, multiplication, and superimposition of body parts — perhaps in an effort to imitate these mechanical images. Such multiplication can be see in Marcel Duchamp's Nude Descending a Staircase, No. 2, painted the same year as Balla's painting. Balla's interest in capturing a single moment in a series of planes was inspired by his fascination with chronophotography. In later, more abstract works created during World War I, Balla used planes of color to suggest movement.

Painting by Marcel Duchamp: Nude Descending a Staircase causes an uproar at the 1913 Armory show in New York City. In interviews, Duchamp suggested that he had been influenced by seeing stop-motion images and that his aim was to achieve " a static representation of movement, a static composition of indications of various positions taken by a form in movement." In a New York Times review, an art critic described the painting as resembling "an explosion in a shingle factory."

1912

(no entry for this year)

Painting by Ernst Ludwig Kirchner: Street, Berlin shows Berlin in 1913,` before the outbreak of World War 1. At this time, Kirchner painted several different street scenes that illustrated the chaos of city life and the relationship between men and women. The mass of men in the background do not have any identifying features, but instead appear as a copy of each other. Their clothes flow into one another and their non-distinct facial features cause you to connect with the women because they are the only two with a sense of identity. Kirchner uses some anti-naturalistic color in this piece including the skin of the figures which varies between shades of pink and orange as well as the blue and pink shades in the scenery. The anti-naturalistic tones are common in the German Expressionism and his other work during this time period.

Painting by Georges Braque: Woman with a Guitar. A relatively large painting it is 130 cm by 73 cm, and utilised both oil paint and charcoal. While the painting is abstracted the basic subject can still be seen towards the top in the feminine mouth and eye, as well as the brown trapezoid shape containing the strings of a guitar.

Painting by Umberto Boccioni: Dynamism of a Cyclist (Dinamismo di un Ciclista) demonstrates the Futurist preoccupation with speed, modern methods of transport, and the depiction of the dynamic sensation of movement. Futurism was an early twentieth-century movement in Italy that sought to free the country from what the Futurists saw as the dead weight of its classical past. The Futurists were preoccupied with the technology and dynamism of modern life. The movement found its expression primarily in literature and art.

Sculpture by Umberto Boccioni: Unique Forms of Continuity in Space (Italian: Forme uniche della continuità nello spazio) is seen as an expression of movement and fluidity. The sculpture is depicted on the obverse of the Italian-issue 20 cent euro coin. The Futurist movement was striving to portray speed and forceful dynamism in their art. Boccioni, though trained as a painter, began sculpting in 1912. He exclaimed that "these days I am obsessed by sculpture! I believe I have glimpsed a complete renovation of that mummified art." The following year Boccioni completed the sculpture. His goal for the work was to depict a "synthetic continuity" of motion instead of an "analytical discontinuity" that he saw in artists like František Kupka and Marcel Duchamp.

1913

(no entry for this year)

Photograph by Alvin Langdon Coburn: Vortograph — a kaleidoscopic effect — created by placing mirrors in triangular arrangements around a lens.

Painting by Giorgio de Chirico: The Song of Love (also known as Le chant d'amour or Love Song; 1914) is one of the most famous works by de Chirico and an early example of the surrealist style, though it was painted ten years before the movement was "founded" by André Breton in 1924. It depicts an outdoor architectural setting similar to other works by de Chirico at this time. This time however, the main focus is a small wall on which is mounted a Greek sculpted head and a surgeon's glove. Below it is a green ball. On the horizon is the outline of a locomotive, an image that recurs several times during this period of de Chirico's career.

Painting by Piet Mondrian: The Ocean 5 is basically an abstracted pier that is composed of vertical lines that touch the base of the oval, which stretches into the ocean and short crosses that give the impression of light flickering on the water surface.

1914

(no entry for this year)

Photograph by Alfred Stieglitz: The Steerage has been hailed as one of the greatest photographs of all time because it captures in a single image both a formative document of its time and one of the first works of artistic modernism. Stieglitz first published The Steerage in the October 1911 issue of Camera Work, which he had devoted to his own photography. It appeared the following year on the cover of the magazine section of the Saturday Evening Mail (20 April 1912), a New York weekly magazine. It was first exhibited in a show of Stieglitz's photographs at "291" in 1913. In 1915 Stieglitz devoted the entire No 7-8 issue of 291 to The Steerage. The only text in the issue were comments on the photo by Paul Haviland and Marius de Zayas.

Work by Francis Picabia: Ici, C'est Ici Stieglitz Foi et Amour (Here, this is Stieglitz. Faith and Love) was published in 1915 as the cover of the avant-garde American journal 291. The work was one of a series of witty "machine portraits" by French artist Francis Picabia, soon to become a leading figure in the developing Dada art movement in New York City. The journal's title, named after Alfred Stieglitz's 291 Gallery on Fifth Avenue, pays tribute to the photographer's role in promoting modern art. But the symbolic portrait suggests that he has lost his momentum: it portrays its subject as a limp and broken camera striving toward, but not reaching, the "Ideal," with an automobile gearshift lodged in neutral and a hand brake engaged.

1915

(no entry for this year)

Photograph by Paul Strand:: Blind, taken as part of a series of street portraits. He used a camera outfitted with a special false lens that allowed him to point the camera in one direction while actually taking a photograph ninety degrees to the side. The result was a collection of remarkably natural and unposed photographs.

"Sculpture" by Marcel Duchamp: Fountain. Duchamp submits this work to the exhibition of the Society of Independent Artists. The piece is actually a porcelain urinal, signed R. Mutt, 1917. The work (originally conceived as a prank) is regarded by art historians as a major landmark in 20th-century art.

1917

(no entry for this year)

Painting by Marcel Duchamp: Tu m'. This was Duchamp's last painting and was commissioned by Katherine Dreier to be hung over a bookcase in her library, hence the unusual length and frieze-like shape of the work. Executed in 1918, it is Marcel Duchamp's last painting on canvas and sums up his previous artistic concerns. Ranging across the canvas from left to right are cast shadows that refer to three "ready-mades": a bicycle wheel, a corkscrew, and a hat rack. Several objects are rendered illusionistically, such as a painted hand with a pointed finger in the lower center. Providing counterpoints to these trompe l'oeil elements are real objects: a bottle brush, a bolt, and safety pins. Duchamp summarizes different ways in which a work of art can suggest reality: as shadow, imitation, or actual object. The title lends a sarcastic tone to the work, for the words, perhaps short for the French "tu m'emmerdes" (you annoy me) or "tu m'ennuies" (you bore me), seem to express his attitude toward painting as he was casting it aside.

Joan Miró first exhibits his works.

1918

(no entry for this year)

Painting by John Singer Sargent: Gassed is a very large (7.5 × 20 feet) oil painting completed in March 1919 by John Singer Sargent. It depicts the aftermath of a mustard gas attack during the First World War, with a line of wounded soldiers walking towards a dressing station. Sargent was commissioned by the British War Memorials Committee to document the war and visited the Western Front in July 1918 spending time with the Guards Division near Arras, and then with the American Expeditionary Forces near Ypres. The painting was finished in March 1919 and voted picture of the year by the Royal Academy of Arts in 1919. It is now held by the Imperial War Museum.

Work by Marcel Duchamp: L.H.O.O.Q., was one of what Duchamp referred to as a readymade, or more specifically a rectified ready-made. The readymade involves taking mundane, often utilitarian objects not generally considered to be art and transforming them, by adding to them, changing them, or (as in the case of his most famous work Fountain) simply renaming them and placing them in a gallery setting. In L.H.O.O.Q. the objet trouvé ("found object") is a cheap postcard reproduction of Leonardo da Vinci's Mona Lisa onto which Duchamp drew a moustache and beard in pencil and appended the title. The name of the piece, L.H.O.O.Q., is a pun; the letters pronounced in French sound like "Elle a chaud au cul", "She is hot in the arse"; "avoir chaud au cul" is a vulgar expression implying that a woman has sexual restlessness. In a late interview, Duchamp gives a loose translation of L.H.O.O.Q. as "there is fire down below". As was the case with a number of his readymades, Duchamp made multiple versions of L.H.O.O.Q. of differing sizes and in different media throughout his career, one of which, an unmodified black and white reproduction of the Mona Lisa mounted on card, is called L.H.O.O.Q. Shaved.

1919

(no entry for this year)

Sculpture by Raoul Hausmann: Mechanischer Kopf (Der Geist Unserer Zeit) — "The Mechanical Head (The Spirit of Our Time)" is the only surviving assemblage that Hausmann produced around 1919-20. Constructed from a hairdresser's wig-making dummy, the piece has various measuring devices attached including a ruler, a pocket watch mechanism, a typewriter, some camera segments and a crocodile wallet. "Der Geist Unserer Zeit — Mechanischer Kopf specifically evokes the philosopher George Wilhelm Friedrich Hegel. For Hegel...everything is mind. Among Hegel's disciples and critics was Karl Marx. Hausmann's sculpture might be seen as an aggressively Marxist reversal of Hegel: this is a head whose "thoughts" are materially determined by objects literally fixed to it. However, there are deeper targets in western culture that give this modern masterpiece its force. Hausmann turns inside out the notion of the head as seat of reason, an assumption that lies behind the European fascination with the portrait. He reveals a head that is penetrated and governed by brute external forces.

1920

(no entry for this year)

Assemblage by Kurt Schwitters: Merzpicture 46A. The Skittle Picture — an early example of Schitters' assemblages in which two and three dimensional objects are combined. The word "Merz," which Schwitters used to describe his art practice as well as his individual pieces, is a nonsensical word, like Dada, that Schwitters culled from the word "commerz", the meaning of which he described as follows: "In the war, things were in terrible turmoil. What I had learned at the academy was of no use to me.... Everything had broken down and new things had to be made out of the fragments; and this is Merz". In his Merzpictures, which have been called "psychological collages," he arranged found objects — usually detritus — in simple compositions that transformed trash into beautiful works of art. Whether the materials were string, a ticket stub, or a chess piece, Schwitters considered them to be equal with any traditional art material. Merz, however, is not ideological, dogmatic, hostile, or political as is much of Dada art.

Painting by Max Ernst: The Elephant Celebes (or short Celebes) is among the most famous of Ernst's early surrealist works and "undoubtedly the first masterpiece of Surrealist painting in the de Chirico tradition." It combines the vivid dreamlike atmosphere of Surrealism with the collage aspects of Dada. The painting attempts to apply Dada's collage effects to simulate different materials. Ernst's realistic portrayal of the constituent elements produces a hallucinatory effect that he associated with collage, and was trying to achieve in this painting. Regarding the art of collage, Ernst said, "It is the systematic exploitation of the coincidental or artificially provoked encounter of two of more unrelated realities on an apparently inappropriate plane and the spark of poetry created by the proximity of these realities."

1921

(no entry for this year)

Painting by Paul Klee: Twittering Machine (Die Zwitscher-Maschine). Like other artworks by Klee, it blends biology and machinery, depicting a loosely sketched group of birds on a wire or branch connected to a hand-crank. Interpretations of the work vary widely: it has been perceived as a nightmarish lure for the viewer or a depiction of the helplessness of the artist, but also as a triumph of nature over mechanical pursuits. It has been seen as a visual representation of the mechanics of sound. Originally displayed in Germany, the image was declared "degenerate art" by Adolf Hitler in 1933 and sold by the Nazi Party to an art dealer in 1939, whence it made its way to New York. One of the better known of more than 9,000 works produced by Klee, it is among the more famous images of the New York Museum of Modern Art (MoMA). It has inspired several musical compositions and, according to a 1987 magazine profile in New York Magazine, has been a popular piece to hang in children's bedrooms.

Painting by Joan Miró: The Harlequin's Carnival (Spanish: Carnaval de Arlequín) is an oil painting rendered by Joan Miró between 1924 and 1925. It is one of the most outstanding surrealist paintings of the artist, and it is preserved in the AlbrightKnox Art Gallery, Buffalo. Created between 1924 and 1925, Harlequins Carnival is one of Mirós best-known pieces. Harlequin is the name of an Italian comic theater character, generally identified by his checkered costume. The carnival in the title of the painting may refer to Mardi Gras, the celebration that occurs before the fasting of Lent begins.

1924

(no entry for this year)

Painting by Joan JMiró: The Birth of the World depicts "a sort of genesis" — the amorphous beginnings of life. To make this work, Miró poured, brushed, and flung paint on an unevenly primed canvas so that the paint soaked in some areas and rested on top in others. Atop this relatively uncontrolled application of paint, he added lines and shapes he had previously planned in studies. The bird or kite, shooting star, balloon, and figure with white head may all seem somehow familiar, yet their association is illogical. Describing his method, Miró said, "Rather than setting out to paint something I began painting and as I paint the picture begins to assert itself, or suggest itself under my brush.... The first stage is free, unconscious." — like other Surrealists, Miró derived much inspiration from psychoanalyst Sigmund Freud's theories on dreams and the workings of the subconscious mind.

1925

(no entry for this year)

Painting by Otto Dix: "Bildnis der Journalistin Sylvia von Harden" (Portrait of the Journalist Sylvia von Harden, 1926). Sylvia von Harden was a German journalist and poet. During her career as a journalist, she wrote for many newspapers in Germany and England. An ambivalent image of the New Woman, it depicts von Harden with bobbed hair and monocle, seated at a cafe table with a cigarette in her hand and a cocktail in front of her. This painting is recreated in an opening scene of the 1972 film Cabaret. In 1959, von Harden wrote an article, "Erinnerungen an Otto Dix" ("Memories of Otto Dix"), in which she described the genesis of the portrait. Dix had met her on the street, and declared: 'I must paint you! I simply must! ... You are representative of an entire epoch!' 'So, you want to paint my lacklustre eyes, my ornate ears, my long nose, my thin lips; you want to paint my long hands, my short legs, my big feet — things which can only scare people off and delight no-one?' 'You have brilliantly characterized yourself, and all that will lead to a portrait representative of an epoch concerned not with the outward beauty of a woman but rather with her psychological condition.' The painting, an important example of the New Objectivity movement, is now in the Musée National d'Art Moderne, Centre Georges Pompidou, Paris.

1926

(no entry for this year)

Painting by Paul Klee: Prestidigitator (Conjuring Trick). Klee's highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's A Treatise on Painting for the Renaissance.

1927

(no entry for this year)

(no entry for this year)

1928

(no entry for this year)

Painting by René Magritte: The Treachery of Images (French: La trahison des images, 1928–29, sometimes translated as The Treason of Images) shows a pipe. Below it, Magritte painted, "Ceci n'est pas une pipe.", French for "This is not a pipe." Magritte's comment: "The famous pipe. How people reproached me for it! And yet, could you stuff my pipe? No, it's just a representation, is it not? So if I had written on my picture 'This is a pipe', I'd have been lying!" The painting is sometimes given as an example of meta message conveyed by paralanguage. Compare with Korzybski's "The word is not the thing" and "The map is not the territory" or Freud's "Sometimes a cigar is just a cigar."

Photograph by Man Ray: Yeshwant Rao Holkar II and Sanyogita Devi of Indore. The Maharaja of Indore spent much time in Europe and the United States (one of his homes was in Santa Ana, California). He became a patron of many important artists and designers of his day. The Paris-based American avant-garde photographer Man Ray photographed Yeshwant Rao Holkar extensively. This informal and intimate image of the Maharaja and his wife were probably taken when they were on holiday in Cannes, in the south of France.

Painting by Grant Wood: American Gothic. Wood's inspiration came from what is now known as the American Gothic House, and his decision to paint the house along with "the kind of people I fancied should live in that house." Created in 1930, it depicts a farmer standing beside a woman that has been interpreted to be either his wife or his daughter. The figures were modeled by Wood's sister, Nan Wood Graham, and a local dentist, Dr. Byron McKeeby. The woman is dressed in a colonial print apron evoking 19th-century Americana, and the man is holding a pitchfork. It is one of the most familiar images in 20th-century American art, and has been widely parodied in American popular culture.

Painting by Salvador Dalí: The Persistence of Memory (Catalan: La persistència de la memòria) is one of his most recognizable works. First shown at the Julien Levy Gallery in 1932, since 1934 the painting has been in the collection of the Museum of Modern Art (MoMA) in New York City, which received it from an anonymous donor. The well-known surrealist piece introduced the image of the soft melting pocket watch. It epitomizes Dalí's theory of "softness" and "hardness", which was central to his thinking at the time. As Dawn Adès wrote, "The soft watches are an unconscious symbol of the relativity of space and time, a Surrealist meditation on the collapse of our notions of a fixed cosmic order". This interpretation suggests that Dalí was incorporating an understanding of the world introduced by Albert Einstein's theory of special relativity. Asked by Ilya Prigogine whether this was in fact the case, Dalí replied that the soft watches were not inspired by the theory of relativity, but by the surrealist perception of a Camembert melting in the sun.

1931

(no entry for this year)

Painting by Pablo Picasso: Le Rêve (French, "The Dream") portrays his 22-year-old mistress Marie-Thérèse Walter. It is said to have been painted in one afternoon, on 24 January 1932. It belongs to Picasso's period of distorted depictions, with its oversimplified outlines and contrasted colors resembling early Fauvism. In 2001, casino magnate Steve Wynn purchased the work for an undisclosed sum, estimated to be about $60 million. In October 2006, Wynn told a group of his friends that he had agreed the day before to sell the painting for $139 million to Steven A. Cohen. At the time, this price would have made Le Rêve the most expensive piece of art ever. While Wynn was showing the painting to his friends, he put his right elbow through the canvas, puncturing the left forearm of the figure and creating a six-inch tear. After a $90,000 repair, the painting was re-valued at $85 million. Wynn filed a claim to recover the $54 million perceived loss from his Lloyd's of London insurers, an amount which would have covered most of the initial cost of buying the painting. When the insurers balked, Wynn sued them in January 2007. The case was eventually settled out of court in March 2007. Cohen bought the painting from Wynn in 2013 for $155 million. The price is estimated to be the highest ever paid, up to that time, for an artwork by a U.S. collector

1932

(no entry for this year)

(no entry for this year)

1933

(no entry for this year)

Fresco by Diego Rivera: Man at the Crossroads was intended for New York City's Rockefeller Center. The painting was controversial because it included an image of Lenin and a Soviet Russian May Day parade. Despite protests from artists, Nelson Rockefeller ordered its destruction before it was completed. Only black-and-white photographs exist of the original incomplete mural, taken when Rivera was forced to stop work on it. Using the photographs, Rivera repainted the composition in Mexico under the variant title Man, Controller of the Universe. The creation and destruction of the mural is dramatized in the films Cradle Will Rock (1999) and Frida (2002).

1934

(no entry for this year)

Architecture by Frank Lloyd Wright: Fallingwater or the Kaufmann Residence is a house in rural southwestern Pennsylvania, 43 miles southeast of Pittsburgh. The home was built partly over a waterfall on Bear Run in the Mill Run section of Stewart Township, Fayette County, Pennsylvania, in the Laurel Highlands of the Allegheny Mountains. The house was designed as a weekend home for the family of Liliane Kaufmann and her husband, Edgar J. Kaufmann, owner of Kaufmann's department store. Time cited it after its completion as Wright's "most beautiful job"; it is listed among Smithsonian's Life List of 28 places "to visit before you die". It was designated a National Historic Landmark in 1966. In 1991, members of the American Institute of Architects named the house the "best all-time work of American architecture" and in 2007, it was ranked 29th on the list of America's Favorite Architecture according to the AIA.

1935

(no entry for this year)

Photograph by Dorothea Lange: Migrant Mother is one of a series of photographs that Lange made of Florence Owens Thompson and her children in February or March of 1936 in Nipomo, California. Lange was concluding a month's trip photographing migratory farm labor around the state for what was then the Resettlement Administration. The images were made using a Graflex camera. The original negatives are 4x5" film. In 1960, Lange gave this account of the experience: I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean- to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it.

Sculpture by Méret Oppenheim: Object (Le Déjeuner en fourrure) [Object (Breakfast in Fur)]. The sculpture consists of a teacup, saucer and spoon that the artist covered with fur from a Chinese gazelle. The fur suggests an expensively decked-out woman; the cup, hollow yet round, can evoke female genitalia; the spoon with its phallic shape further eroticizes the hairy object. It was purchased by Alfred Barr for the collection of the Museum of Modern Art in New York and included the museum's first surrealist exhibition Fantastic Art: Dada and Surrealism in 1936. Oppenheim was willing to sell the piece for one thousand francs, but Barr only offered her $50 and she accepted. This was the first piece of art that the museum acquired, and Oppenheim became known as the First Lady of MoMA. The enormous success of this early work would later create problems for Oppenheim as an artist. Soon after its creation she drifted away from the Surrealists. Decades later, in 1972, she artistically commented on its dominance of her career by producing a number of "souvenirs" of Le Déjeuner en fourrure.

1936

(no entry for this year)

Painting by Pablo Picasso: Guernica is a mural-sized work that Picasso completed in June 1937, at his home on Rue des Grands Augustins, in Paris. The painting, which uses a palette of gray, black, and white, is regarded by many art critics as one of the most moving and powerful anti-war paintings in history. Standing at 3.49 meters (11 ft 5 in) tall and 7.76 meters (25 ft 6 in) wide, the large mural shows the suffering of people wrenched by violence and chaos. Prominent in the composition are a gored horse, a bull, and flames. The painting was created in response to the bombing of Guernica, a Basque Country village in northern Spain, by Nazi German and Fascist Italian warplanes at the request of the Spanish Nationalists. Upon completion, Guernica was exhibited at the Spanish display at the Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris International Exposition) in the 1937 World's Fair in Paris and then at other venues around the world. The touring exhibition was used to raise funds for Spanish war relief. The painting became famous and widely acclaimed, and it helped bring worldwide attention to the Spanish Civil War.

Painting by Pablo Picasso: The Weeping Woman. Picasso was intrigued with the subject, and revisited the theme numerous times that year. This painting was the final and most elaborate of the series. It has been in the collection of the Tate in London since 1987, and is on exhibition at the Tate Modern, London. Dora Maar was Picasso's mistress from 1936 until 1944. In the course of their relationship, Picasso painted her in a number of guises, some realistic, some benign, others tortured or threatening. Picasso explained: For me she's the weeping woman. For years I've painted her in tortured forms, not through sadism, and not with pleasure, either; just obeying a vision that forced itself on me. It was the deep reality, not the superficial one.

1937

(no entry for this year)

Painting by René Magritte: Time Transfixed (La Durée poignardée) is part of the permanent collection of the Art Institute of Chicago and is usually on display in the museum's new Modern Wing. The painting was one of many done for surrealist patron and Magritte supporter Edward James. The painting depicts a locomotive jutting out of a fireplace, at full steam, in an empty room. Above the mantelpiece is a tall mirror. Only the clock and one candlestick standing on the mantelpiece are reflected in the mirror. The title of the painting translates to English literally as "Ongoing Time Stabbed by a Dagger" and Magritte was reportedly unhappy with the generally accepted translation of "Time Transfixed".

1938

(no entry for this year)

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1939

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1940

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1941

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1942

(no entry for this year)

Painting by Piet Mondrian: Broadway Boogie Woogie was completed in 1943, shortly after Mondrian moved to New York in 1940. Compared to his earlier work, the canvas is divided into a much larger number of squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and the Broadway boogie woogie, a type of music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for the price of $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

1943

(no entry for this year)

Triptych by Francis Bacon: Three Studies for Figures at the Base of a Crucifixion comprises three canvasses that are based on the Eumenides — or Furies — of Aeschylus's Oresteia, and that depict three writhing anthropomorphic creatures set against a flat burnt orange background. It was executed in oil paint and pastel on Sundeala fibre board and completed within two weeks. The triptych summarises themes explored in Bacon's previous work, including his examination of Picasso's biomorphs and his interpretations of the Crucifixion and the Greek Furies. The Three Studies are generally considered Bacon's first mature piece. When the painting was first exhibited in 1945 it caused a sensation and established him as one of the foremost post-war painters. Remarking on the cultural significance of Three Studies, the critic John Russell observed in 1971 that "there was painting in England before the Three Studies, and painting after them, and no one ... can confuse the two".

1944

(no entry for this year)

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1945

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1946

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Painting by Jackson Pollock: Reflections of the Big Dipper, consisting of built up layers of paint with dripped enamel as the final touch, concluding the composition. It was around 1947 that Jackson Pollock traded in his brushes for sticks, trowels and knives and began adding foreign matter, such as sand, broken glass, nails, coins, paint-tube tops and bottle caps to his canvases. Reflection of the Big Dipper was exhibited at the Betty Parsons Gallery in 1948, along with sixteen other paintings by Jackson Pollock. The show received positive reviews. Pollock's works from this time are a transitional step between a more traditional handling of paint and his revolutionary technique of dripping paint on canvases off a large scale.

1947

(no entry for this year)

Painting by Barnett Newman: Onement I features the first full incarnation of what Newman later called a 'zip', a vertical band of color. This motif would play a central role in many of his subsequent paintings. The painting's title is an archaic derivation of the word 'atonement', meaning, "the state of being made into one."

Painting by Salvador Dalí: Christ of Saint John of the Cross depicts Jesus Christ on the cross in a darkened sky floating over a body of water complete with a boat and fishermen. Although it is a depiction of the crucifixion, it is devoid of nails, blood, and a crown of thorns, because, according to Dalí, he was convinced by a dream that these features would mar his depiction of Christ. Also in a dream, the importance of depicting Christ in the extreme angle evident in the painting was revealed to him.

1951

(no entry for this year)

Painting by Jackson Pollock: Number 11, 1952, also known as Blue Poles, is one of the most famous works by American artist Jackson Pollock. It was purchased amid controversy by the National Gallery of Australia in 1973 and today remains one of the gallery's major paintings. At the time of the painting's creation, Pollock preferred not to assign names to his works, but rather numbers; hence, the original title of the painting was simply "Number 11"' or "No. 11" for the year 1952. In 1954, the new title Blue Poles was first seen at an exhibition at the Sidney Janis Gallery and reportedly originated from Pollock himself. According to art historian Dennis Phillips, the specific rather than ambiguous title "limits our field of comprehension and does the painting a singular disservice. Because we look for the poles and miss much of the rest, the name is simply too distracting."

1952

(no entry for this year)

Painting by Francis Bacon: Study after Velázquez's Portrait of Pope Innocent X shows a distorted version of the Portrait of Innocent X painted by Spanish artist Diego Velázquez in 1650. The work is one of a series of over 45 variants of the Velázquez painting which Bacon executed throughout the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. When asked why he was compelled to revisit the subject so often, Bacon replied that he had nothing against the Popes, that he merely sought "an excuse to use these colours, and you can't give ordinary clothes that purple colour without getting into a sort of false fauve manner".

1953

(no entry for this year)

Painting by Jasper Johns: Flag is an encaustic painting created when Johns was 24 (1954-55), two years after he was discharged from the US Army. This painting was the first of many works that Johns has said were inspired by a dream of the U.S. flag in 1954. It is arguably the painting for which Johns is best known. The US flag was in the news repeatedly in 1954. The McCarthy hearings came to a close on 17 June 1954, only three days after Flag Day. On Flag Day, U.S. President Dwight D. Eisenhower signed an amendment to the pledge of allegiance to add the words "under God." The New York Times ran article on facts and myths associated with the flag on the day before Flag Day, and then an article on the "discipline" of the flag on Flag Day itself, saying, with reference to a national air-raid drill "we are all soldiers now". Francis Scott Key, composer of "The Star Spangled Banner", was born in 1779, 175 years before 1954. The Iwo Jima Marine Memorial at Arlington National Cemetery, with its large US flag, was dedicated on 11 November 1954. Johns and his father were both named after Sergeant William Jasper, who saved the fallen flag of the Americans at Fort Moultrie in the American Revolutionary War. The work measures 42.2 inches by 60.6 inches. It is made using encaustic, oil paint, and newsprint collage on three separate canvases, mounted on a plywood board. The painting reflects the three colors of the US flag: red, white and blue; the flag is depicted in the form it took between 1912 and 1959, with 48 white stars on a blue canton representing the then-US states (excluding Alaska and Hawaii), and with thirteen red and white stripes. Newsprint is visible under the stripes. Reading the texts, it is clear that the newsprint was not selected at random: Johns steered clear of headlines, or national or political news, and used inconsequential articles or adverts. The painting has a rough-textured surface, and the 48 stars are not identical. It is dated 1954 on its reverse.

1954

(no entry for this year)

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1955

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Collage by Richard Hamilton: Just what is it that makes today's homes so different, so appealing? measures 10.25 in (260 mm) × 9.75 in (248 mm). The work is now in the collection of the Kunsthalle Tübingen, Tübingen, Germany. It was the first work of pop art to achieve iconic status. Just what is it that makes today's homes so different, so appealing? was created in 1956 for the catalogue of the exhibition This Is Tomorrow in London, England in which it was reproduced in black and white. In addition, the piece was used in posters for the exhibit. Hamilton and his friends John McHale and John Voelcker had collaborated to create the room that became the best-known part of the exhibition.

1956

(no entry for this year)

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1957

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1958

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1959

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1960

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1961

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1962

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1963

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painting by Roy Lichtenstein: Oh, Jeff...I Love You, Too...But... (sometimes Oh, Jeff). Like many of Lichtenstein's works its title comes from the speech balloon in the painting. Although many sources, such as the Encyclopedia of Art, describe Whaam! and Drowning Girl as Lichtenstein's most famous works, artist Vian Shamounki Borchert believes it is this piece, calling it his Mona Lisa. The Daily Mail listed it along with Whaam! and Drowning Girl as one of his most famous at the time of its 2013 Retrospective at the Tate Modern. Borchert notes that this painting captures "the magic" of its "anguished and yes [sic] beautiful blue eyed, blond hair, full lips" female subject while presenting "sad eyes that seem to give in to what seems to be a doomed love affair". Lichtenstein in 1967 Measuring 48 in × 48 inches, Oh, Jeff...I Love You, Too...But... is among the most famous of his early romance comic derivative works from the period when he was adapting cartoons and advertisements into his style via Ben-Day dots.

An art exhibit is held at Stanford University, featuring Brancusi's Bird in Space (loaned by student Richard Holkar) as its major piece. Another work entitled Soul in Flight — a "sculpture" consisting of two bent coat hangers — is surreptitiously added to the exhibit by D. Heskett and R. Robbins (student colleagues of Holkar), without the bother of going through the submission process. The coat-hanger piece remains as part of the exhibit for several days, until it is accidentally bumped and comes apart during an evening cleaning of the displays.

1964

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1965

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1966

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1967

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1968

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1969

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1970

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1971

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1972

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1973

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1974

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1975

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1976

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1977

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1978

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1979

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1980

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1981

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1982

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1983

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1984

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1985

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1986

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1987

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1988

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1989

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1990

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Scultpure by Damien Hirst: The Physical Impossibility of Death in the Mind of Someone Living consists of a large (14 foot) tiger shark preserved in formaldehyde in a vitrine. It is considered the iconic work of British art in the 1990s, and has become a symbol of Britart worldwide. The work was funded by Charles Saatchi, who in 1991 had offered to pay for whatever artwork Hirst wanted to create. Saatchi sold the work in 2004 to Steven A. Cohen for an estimated $8 million. When the original shark showed signs of deterioration (it rotted from the inside out and a fin fell off), it was replaced with a new specimen in 2006, thereby raising a Ship of Theseus problem: Does a work of art remain the same work if its components are replaced with new components?

1991

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1992

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1993

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1994

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1995

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1996

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1997

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1998

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1999

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2000

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2001

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2002

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2003

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2004

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2005

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2006

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Sculpture by Damien Hirst: For the Love of God consists of a platinum cast of an 18th-century human skull encrusted with 8,601 flawless diamonds, including a pear-shaped pink diamond located in the forehead that is known as the Skull Star Diamond. The skull's teeth are actual human teeth, and were purchased by Hirst in London. The artwork is a Memento mori, or reminder of the mortality of the viewer. In 2007, art historian Rudi Fuchs, observed: 'The skull is out of this world, celestial almost. It proclaims victory over decay. At the same time it represents death as something infinitely more relentless. Compared to the tearful sadness of a vanitas scene, the diamond skull is glory itself.' Costing £14 million to produce, the work was placed on its inaugural display at the White Cube gallery in London in an exhibition Beyond belief with an asking price of £50 million. This would have been the highest price ever paid for a single work by a living artist. The base for the work is a human skull bought in a shop in Islington. It is thought to be that of a 35-year-old European who lived between 1720 and 1810. The work's title was supposedly inspired by Hirst's mother, who once asked, "For the love of God, what are you going to do next? Hirst said that the work was sold on 30 August 2007, for £50 million, to an anonymous consortium. Christina Ruiz, editor of The Art Newspaper, claims that Hirst had failed to find a buyer and had been trying to offload the skull for £38 million. Immediately after these allegations were made, Hirst claimed he had sold it for the full asking price, in cash, leaving no paper trail. The consortium that bought the piece included Hirst himself.

2007

(no entry for this year)

(no entry for this year)

2008

(no entry for this year)

(no entry for this year)

2009

(no entry for this year)

(no entry for this year)

2010

(no entry for this year)

(no entry for this year)

2011

(no entry for this year)

(no entry for this year)

2012

(no entry for this year)

Photograph by Hilda Clayton: Photographer records her own death. On 2 July 2013, Spec. Hilda Clayton, a combat photographer in the U.S. Army, was documenting a live-fire exercise in Afghanistan when a mortar tube accidentally exploded in front of her. This picture records the explosion that killed her, the soldier in the image, and three others,

Sculptures by Damien Hirst: Treasures From the Wreck of the Unbelievable — his first major show of new work since the financial collapse of 2009. The collection is being shown at Palazzo Grassi and Punta della Dogana, the two Venetian venues of the Pinault Collection. The conceit behind the show is that the works were originally a stash of ancient treasures, lost in a shipwreck nearly 2000 years ago, and recently recovered. The long-lost treasures include giant sculptures of sea monsters encrusted with coral and semiprecious stones; golden monkeys, unicorns and tortoises; as well as a goddess whose face looks oddly like Kate Moss, a marble pharaoh that resembles Pharrell Williams and a bronze statue of Mickey Mouse (pictured), covered with centuries of marine growth.

2017

(no entry for this year)

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2018

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2019

(no entry for this year)

ESP Quick Facts

ESP Origins

In the early 1990's,
Robert Robbins
was a faculty member at Johns
Hopkins, where he directed the informatics core of GDB
— the human gene-mapping database of the international human
genome project. To share papers with colleagues around the world, he
set up a small paper-sharing section on his personal web page. This
small project evolved into The Electronic Scholarly
Publishing Project.

ESP Support

In 1995, Robbins became the VP/IT of the Fred Hutchinson Cancer Research
Center in Seattle, WA. Soon after arriving in Seattle, Robbins secured
funding, through the ELSI component of the US Human Genome Project, to
create the original ESP.ORG web site, with the formal goal of
providing free, world-wide access to the literature of classical genetics.

ESP Rationale

Although the methods of molecular biology can seem almost
magical to the uninitiated, the original
techniques of classical genetics are readily appreciated by one and
all: cross individuals that differ in some inherited trait, collect
all of the progeny, score their attributes, and propose mechanisms
to explain the patterns of inheritance observed.

ESP Goal

In reading the early works of classical genetics, one is drawn, almost
inexorably, into ever more complex models, until molecular explanations
begin to seem both necessary and natural. At that point, the tools
for understanding genome research are at hand. Assisting readers reach
this point was the original goal of The Electronic Scholarly Publishing
Project.

ESP Usage

Usage of the site grew rapidly and has remained high. Faculty began
to use the site for their assigned readings. Other on-line
publishers, ranging from The New York Times to Nature
referenced ESP materials in their own publications. Nobel laureates
(e.g., Joshua Lederberg) regularly used the
site and even wrote to suggest changes and improvements.

ESP Content

When the site began, no journals
were making their early content available in
digital format. As a result, ESP was obliged to digitize classic
literature before it could be made available. For many important
papers — such as
Mendel's original paper
or the
first genetic map
— ESP had to produce entirely new typeset versions of the works,
if they were to be available in a high-quality format.

ESP Help

Early support from the DOE component of the Human Genome Project was
critically important for getting the ESP project on a firm foundation.
Since that funding ended (nearly 20 years ago), the project has been
operated as a purely volunteer effort.
Anyone wishing to assist in these efforts should send an
email to Robbins.